o^ I77S I ffe*. HT. Memory FROM THE LIBRARY OF REV. LOUIS FITZGERALD BENSON. D D BEQUEATHED BY HIM TO THE LIBRARY OF PRINCETON THEOLOGICAL SEMINARY INI U W IU VOL. XXVI SEPTEMBER, 1915 NO. 3 IRecorbs or tbe American Catljalic Jjtatartcrtl jStowti) of Philadelphia WITH WHICH IS COMBINED AMERICAN CATHOLIC HISTORICAL RESEARCHES Published Quarterly by the Society Srauct Strut. Philadelphia Copyrighted. 1915 American Catholic Historical Soc; $2.00 PER YEAR SINGLE NUMBER, 50 CENTS TABLE OF CONTENTS. PAGE Historical Sketch op American Catholic Historical Society. 185 List of Present Officers and Members of the Society .... 189 A Philadelphia Choir Book of 1778. 208 By the Rev. H. T. Henry, Litt.D. - - ~r Prince Gallitzin's First Visit to the Allegheny Mountains. 224 Life of Bishop Conwell. Chapters XVII and XVIII 227 By Martin I. J. Griffin. Edited by the Rev. Lemuel B. Norton. Father Peter Helbron's Greensburg, Pa., Register. First Series, 1799 to 1802 242 Copied from the original book by the Rev. Father John, O.S.B. Translated by Lawrence F. Flick, M.D., LL.D. Book Reviews: Metlake: Life of St. Columban 264 Mazzuchelli: Memoirs Historical and Edifying of a Mis- sionary Apostolic 270 Walsh: The Popes and Science 281 Campbell: Pioneer Laymen of North America 284 Clinch: California and Its Missions 286 A History of the United States for Catholic Schools. . 288 Entered at the Philadelphia Post-Office for transmission through the mail as Second-Class Matter. You can aid the American Catholic Historical Society in its work The Beneficial Saving Fund Society OF PHILADELPHIA 1200 and 1202 Chestnut Street Incorporated April 20, 1853 Interest Per Annum ASSETS .... DEPOSITS SURPLUS .... NUMBER OF DEPOSITORS Seventeen Million Dollars Fifteen and a Half Million Dollars One and a Half Million Dollars Over Fifteen Thousand ACCOUNTS OPENED BY MAIL IGNATIUS J. OHAN, President. ANDREW J. KEEGAN, Vice-President. ALFRED J. MURPHY, Secretary and Treasurer. ANTHONY A. HIRST, Esq., Solicitor. BOARD OF MANAGERS Alfred J. MlRPHV, Jeremiah J ICNATK'S J. DOHAN, Charles A. McMa kl Daily, IAN, A. Leslie, ■ William V. McGeath, Jr. Walter George Smith, Anthony A. Hirst, Ignatius J. Horstmann, George W. Norris, HERTV, M.D, Andrew J. Keegan, William P. SlNNETT, abl F. Hanson. Jambs M. Kelley, Joseph I Edward J. Dooner, Joseph C. Trainer, Hon. Joseph F. Lamorellb, John K. Loneroan, m*s Devlin, Hugh McCaffrey. By purchasing from Advertisers in the Records. Records of the American Catholic Historical Society Vol. XXVI September, 191 5 No. 3 A PHILADELPHIA CHOIR HOOK OF 1787. 1 he library of the American Catholic Historical So- ciety is the fortunate possessor of four old-time choir- books, three of which were published in Philadelphia, and the fourth in I Baltimore. A study of the four volumes throws much light on the musical apparatus then thought sufficient, apparently, for the needs of the few thousand Catholics in what was at that time the territory of the United States of America. I have found the study of these four books both interesting and informing; and the infor- mation given by them I have found at times pathetic, at times not without a humorous feature. The earliest of the four is: " A | Compilation of the | Lit- anies and | Vespers Hymns | And Anthems | as They are Sung in the | Catholic Church | Adapted to the Vorce or Organ | By John Aitken | Philadelphia. 1787." The vol- ume is a small quarto of 136 pages of engraved music. The title-page is handsomely engraved. Altogether, the volume presents a sumptuous appearance beyond that of present- day choir-books; and I was naturally amazed to think that this elegant volume dates back to the year 1787 — only four years after the Treaty of Peace (1783) following on the War of the Revolution. 1 The enterprise of our Catholic forbears in Pennsylvania and their idea of the proper expense they should bear 1 In that year of 17S7 the Constitution was ratified by Pennsylvania. Delaware, New Jersey. Eight other States ratified it in the following year; two deferred ratification until 1780 and 1700 respectively. Catho- then only about 25.000 in number, and their constitutional rights were nowhere guaranteed; for the ratification of the Constitu- •i only in the Inst month of t 7S7. the first State to do so being r< Dec 7. '; A Philadelphia Choir Book of ij8j 209 the minur things of religious services, such as choir-books, is to me astonishing, when I look over the pages of this early volume. The volume is interesting from the standpoint of the bibliographer. Finotti has no mention of it in his Biblio- graphia Catholica Americana, a work which he spent years artful study in compiling and which he was able to bring down, in his published volume, to the year 1820. It brings before us the name of the Philadelphia pub- lisher. John Aitken. to whom I have not been able to find any reference in Scharf & Western's History, or in Young's Memorial History 898). Finotti mentions (page a booklet of 40 pages. 8vo, published in Philadelphia by Robert Aitken in 1784; but of John Aitken he makes no mention. In Willis P. Hazard'-- revised edition of Wat- son's Annals of Philadelphia in the Olden Time (Vol. .Ill, p. 151 ). however. I find this: "Blake and Willig were among the earliest music-publishers in Philadelphia. Mr. Blake died nearly one hundred years of age, at No. 13 South Fifth Street. Mr. Blake stated that Messrs. Carr and Shetkey were publishing music previous to 1 800, and that John Aitken was their predecessor for several years, at No. 3 or 5 South Third Street." Having examined the early Philadelphia Directories. Mr. James Warrington writes to me concerning John Aitken : " He appears to have been a silversmith and copperplate printer, and apparently conducted his business with other persons. I searched the Directories from 1791 to 1806. Charles Taws, whose name is on the sheet of Adeste Fideles 2 with that of Aitken, appears at 60 Walnut St., up to and including 1800, but in 1 80 1 the name becomes John Taws. Aitken' s name ap- pears at various places, but I do not find No. y& North Sec- 2 This is an engraved full-sized music-sheet appearing doubtless later than 1791, as Aitken does not include the Adeste in his "Compilation" for Catholic choirs, either in the 1787 or in the 1791 edition. — H. T. H. -mo American Catholic Historical Society i.nd until i So i. when at that address the name of V. Blanc, Coppersmith, appears." John Aitken was. doubtless, n Catholic, as he issued also the King fames version of the Bible. The reverse of the title-page is blank. The following page hears this imprimatur: " Whereas John Aitken, of the City of Philadelphia, hath humbly requested an Approba- tion of the Work he is now preparing to publish at his own expence (sic), entitled 'A Compilation . . . Adapted to Voice or Organ ' : We, desiring to encourage an Undertak- ing so conducive to the Decency and Solemnity of religious Worship, do hereto set our names in Testimony of our Ap- probation." Here follow the names: " Revd. John Carroll. Revd. Robert Molyneux, Revd. Francis Beeston, Revd. Lawrence Graessl. Underneath, the Approbation is printed in German, with the names of the four signers in German also. The reverse of this page is blank. The fol- lowing page is devoted to the Contents, headed by an equi- valent of copyright: "I, James Riddle. Prothonotary of the Court of Common Pleas of Philadelphia County, do certify that John Aitken hath entered in my Office, accord- ing to the Act of Assembly, a certain book published by him. entitled " . . . " containing 1 36 pages in quarto. Wit- no- my hand, this 8th April. 1788. — James Riddle, Prot" The next fifteen pages are devoted to " A Xew Intro- duction to the Grounds of Music ". These bibliographical details are not without interest, in view of the re-issue of the volume, very much changed in fact, although not in general appearance, tour year- later. As the two editions agree in the main in respect of their inclusions, but vary much in respect of the order and gen- eral arrangement of the inclusions, it will be convenient to place numerals before the [787 inclusions for the purpose 1 >f easy comparis< m. A Philadelphia Choir Book of ijSj 21 1 The 1787 Edition. 1 (page 16) : We have first of all. then, " The Christmas Hymn " : " Whilst Angels to the world proclaim The birth of Christ our King, To magnify his sacred name. We'll joyful anthems sing. The watchful shepherds, seized with fear At radiant light divine. When they the happy tidings hear. Their allelujahs join." In this quotation and in all «»thcr> (except where 1 n >te differently) that I shall make. I have modernized the spell- ing and capitalization, as also the punctuation ( whose care- lessness is, in engraved music, quite a feature, even at the present day. of hymnals). The harmonization of this hymn, as indeed of all the in- dusions in general of the volume, is in two parts (air and bass). 2 (p. 17) : " The Litany of Loretto in Latin" [two set- ting^. 2 1 p. 1S1 : The same, in three settings. 3 (pp. 19, 20) : Various versicles and responses. 4 (pp. 21-2^ 1 : Vespers for Sundays. 5 (p. 24) : " Lucis Creator " | only one stanza, in English verse) : " O Great Creator of the Light. Who from the darksome womb of night Brought forth new light at nature's birth To shine upon the face of earth." 6 (p. 25) : Sing ye praises to the Lord, allelujah, Bless his name with one accord, allelujah; For it's owing to his care, allelujah, What we have and what we are. allelujah." 212 American Catholic Historical Society - (p. 24) : " Psalmus L " [only the first verse of the Miserere, in English]. 8 (p. 26) : " Salve Regina ": " Hail to the Queen who reigns above, Mother of clemency and love, Hail thou, our hope, life, sweetness, we Eve's banished children cry to thee. " We from this wretched vale of tears Send sighs and groans unto thy ears; Oh, then, sweet Advocate, bestow A pitying look on us below. " After this exile, let us see Our blessed Jesus, born of thee. O merciful, O pious Maid, O gracious Mary, lend thine aid."' 9 (p. 27): "Psalm CIV.": " My soul, thy great Creator praise When clothed in his celestial rays He in full majesty appears And like a robe his glory wears. {Chorus) : " Great is the Lord : what tongue can frame An equal honor to his name?" 10 (p. 28) : " The Hymn at Benediction " [the two stanzas of the Tantum ergo]. 11 (p. 29) : " The Easter Hymn " [a translation of " O Filii et Filiae "] : " Young men and maids, your praises join; The glorious king, your king divine This day triumphant left his shrine. Allelujah. " Ere light appeared on Sabbath day The disciples without delay Approached the tomb wherein he lay. Allelujah. " And Magdalene in company With Mary of James and Salome T anoint the corpse came purposely. Allelujah. A Philadelphia Choir Book of i?8j 213 " An Angel clothed in white array Sitting therein to them did say : The Lord's in Galilee this day. Allelujah. " The dear beloved Apostle John Much swifter than St. Peter run And first arrived at the tomb. Allelujah. " As in the room the Apostles were Our Lord amongst them did appear And said : Peace be unto all here. Allelujah. " When Didymus had heard the same, That Christ was rose from earth again. Would yet as dubious remain. Allelujah. Thomas, view my hands, my side, My feet; my wounds still fresh abide; Let incredulity aside. ' Allelujah. ** When Thomas his dear Saviour saw, And touched his wounds with trembling awe, ' Thou art my God,' said he, ' I know.' Allelujah. " ' Blessed are they who have not seen And yet firmly believe herein ; Eternal life I'll give to them.' Allelujah. " In this most holy feast let's raise Our hearts to God in hymns and praise, And let us bless our Lord always. Allelujah. "Our grateful thanks to God let's give In humble manner whilst we live For all those favours we receive. Allelujah." The volume nowhere informs the reader that it is a trans- lation of the French-Latin hymn, " O Filii et Filiae " (called sometimes the " Alleluia ", as it is introduced by a triple repetition of the word " Alleluia "). I suppose that 214 American Catholic Historical Society translation is taken from some one of the old Office books in English used by Catholics in Kngland. But all such information, both interesting and useful as it is, is lacking in our volume throughout. [2 i p. 36) contains only the first stanza, in Latin, of the Veni Creator and of the Tantuin Ergo. That only one Stanza should he given of the former hymn is quite intel- ligible, as it >till is commonly sung before the Sermon at Mass «T Vespers in some churches. But that only one stanza of the Tantum Ergo should have been given is rather puzzling. [3 (pp. 31-34) : The music, without any words, is given for the following eight hymns: "Last (sic) uns erfreuen", " Die ganze Welt Heir (sic) Jesu Christ ", " Maria sei ge- gruesset ", " O Christ hier (sic) merk ". " Nun lobet Gott im Hohen " (sic), " Freu dich der Himmels Koenigin", " Komm reiner Geist ". " Maria Jung Fraurin " (sic >. 14 1 p. 35 | : " Litaney uebe 1 sic \ die geheimnissen ". 15 (pp. 36-38): " The wonders which God's laws contain Xo words can represent ; Therefore to learn and practice them Our zealous hearts are bent." etc. 16 (p. 39) : "Jesu dulcis memoria " [one 8-lined stanza in English] : "Jesus, the only thought of thee With sweetness tills my breast : But sweeter far it is to see And on thy beauty feast," etc. 17 (pp. 40-56): The Anthems of the Blessed Virgin (Alma Redemptoris Mater. Regina Coeli, Salve Regina, and Ave Regina, in the order named 1. 18 (pp. 56-58) : "Psalm CX" [Confitebor tibi, Domine], only the firsl two verses, in Latin. \ curious selection, but Sd to a modern anthem tune. Philadelphia Choir Book of ijSj 215 19 < pj \ : " O anima beata quae suspirat ad te, O care ^p mse ! Da mihi cor tidele qu< id possit te amare." Ap- parently an original text cotnp «cd for adaptation to a mod- ern Anthem-musical-setting, or perhaps a selecti-»n from an oratorio in English. There are many repetitions of this text covering two pages, followed by " Da Capo " ! 1 1 pp. 6l Anthem " : " Thi> is the day which the Lord hath made, we will rejoice and be glad in it. For unto l>orn a Saviour, which is Christ the Lord ". etc. 21 1 p] " Anthem '" : " Sing t< 1 the Lord a new g, let his praise be in the Church of Saints" — appar- ently a Protestant translation of Psalm [49: "Sing ye to the Lord a new canticle, let his praise be in the Church of the Saints." Perhap- it i> adapted to a Church of England anthem, perhaps :■> an orat rio selection. 7): Stabat Mater (only one Latin stanza), to the melody sung to-day in OUT churches. 23 1 pi Lift Up Your Gates": " Lift up your gate-. ( ) ye princes, and be lifted up, O ye eternal d< and the king of glory shall enter in. Who is the king of glory? It is the Lord strong and mighty ever and Lord of hosts," etc. Apparently an adaptation to a previous an- them or oratorio-selection. 24 I P- 7 " How various. Lord, thy works arc found. For which thy wisdom we ad«»re; The earth is with thy treasure crowned Till nature's hand can grasp no more." 25 (pp. 71-4) : " King of kings. Lord of lords, whom heaven and earth cannot contain, how great is thy good- ness thus to become our Sacrifice and our Food," etc. Ap- parently an adaptation. ( pp. 74-76) : " O praise ye the Lord, sing his praise in the congregation of saints," etc. The same comment as that on No. 23. 2l6 American Catholic Historical Society -7 IPP- 7^-77) ' " Let all who would God's goodness prove Still in his truth confide, Whose mercy ne'er forsook the man That on his truth relied," etc. 28 (p. 78) : " O Praise Ye the Lord " — a prose anthem. 29 (pp. 78-81) : " O Be Joyful " : " O be joyful in the Lord ; all ye lands serve the Lord with gladness ", etc. 30 (pp. 82-83) : " Make a joyful noise unto God, all ye lands,'' etc. 31 (p. 84) : " Anthem at the Elevation " ; " We adore and worship thee, O Christ, with all praise and benediction," etc. Apparently an adaptation. 32 (p. 85): "A Hymn": " Through all the changing scenes of life. In trouble and in joy, The praises of my God shall still My heart and tongue employ," etc. 2,7, (p. 86) : " Anthem " : " Sing unto God. ye kingdoms of the earth," etc. 34 (pp. 89-92) : " Anthem ": " Let us magnify thee. O great God," etc. 35 (PP- 93-97) : " Let the Bright Seraphim- " Let the bright seraphims in burning row Their loud uplifted awful trumpets blow; Let the cherubic hosts in tuneful choirs Touch their immortal harps with golden wires." 3 r> (p- 9/) • One stanza of the English version of the Dies Irae. 37 (pp. 08-100) : "Grateful notes and numbers bring wink- tlu- name of r,od we sing; 1 [oly, holj . holy Lord. }\r thj si trioua name adored." etc. A Philadelphia Choir Book of ijtij 217 - (pp. 101-109) : " The Holy Ala>.s of the Blessed Trin- ity.'' It is in harmonized plains. >ng with symphonies inter- spersed in modern music. The effect is most curious, nay, amusing. The text is badly deficient Thus, for the "ixyrie Eleison" we have: " Kyric eleison" — then a symphony; "Christe eleison" — a symphony follows; " Christe elei- — then a symphony: and, finally, another " Kyrie elei- son". These are the only portions of the triple Kyrie, triple Christe, and triple Kyrie given. The Gloria is still more detective. There i> no " Et in terra pax hommibus, bonae voluntatis", but the choir begins with the words: "Laudamus te ". Instead «'t' the next sentence. " Bene- dicimus te", we have a "symphony". Then follows the sentence. " Adoramus te ". and the Glorificamus te " is omitted, or rather is replaced by a ■'symphony". Next we have " Gratias agimus til >i propter magnam gloriam tuam " ( then a " symphony " ). The next sentence. " Do- minc Deus, Rex caelestis, Deus Pater omnipotens" i.s omitted. Next we have: " Domine Fili unigenite Jesu Christe" (followed by a "symphony"). The sentence: "Domine Dens, Agnus Dei, Filius Patris, Qui tollis pec- cata mundi, miserere nobis " is omitted, «>r perhaps I should say is replaced by the symphony, for next we have: "Qui tollis peccata mundi. suscipe deprecationem nostram", after which we have a symphony (perhaps replacing the words: "Qui sedes ad dexteram Patris, miserere nobis", which are omitted) and then : " Quoniam tu solus sanctus " ( with a symphony to take the place of the following words : ' Tu solus Dominus"); and finally we have: " Tu solus altissimus, Jesu Christe. Amen " ! The Gloria thus comes t 1 an abrupt termination, leaving out all mention of the Holy Ghost: "Cum Sancto Spiritu in gloria Dei Patris". The omitted words may have been " recited ", during the " symphonies ", in an audible monotone. 2l8 .American Catholic Historical Society The Credo has a complete text down to the words: " 11011 erit finis", after which it incontinently places " Amen '*. and thus once more omits all reference to the Holy Ghost: Et in Spiritum Sanctum, Dominum, et vivificantem, qui ex Patre Pilioque procedit. Qui cum Patre et Filio simul adoratur et conglorificatur ; qui locutus est per Prophetas." And the remainder of the Credo is also, of course, omitted: " Et imam sanctam catholicam et apostolicam Ecclesiam. Coniiteor unam baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum. Et vitam venturi saeculi." 39 (pp. 110114) : " Praise the Lord with cheerful noise, To his glory sound, my lyre, Praise the Lord each mortal voice, 1 'raise the Lord ye heavenly choir." etc. 40 ( ]). 1 14 ) : The versicles and responses before the Pref- ace < >f the Mass. 41 (p. 115): The Sanctus, plainsong, with complete text. 42 (p. 117) : The Agnus Dei, plainsong, with complete text. 43 (p. 118) : The Ite Missa Est. 44 1 pp. [19-121) : The Mass for the Dead, in plainsong. Only two stanzas of the Dies Irae are given. 45 1 ]). [22) : The Ave Maria, in modern setting. 46 (pp. 123-125): "Anthem": " Benedicamus Patrem et Filium et Spiritum Sanctum." - (p. [25): "Praise the Lord. Jerusalem", a pr anthem. (p. [26 "This s«,icmn feast our joyful songs inspire \nd urge the praises of our tuneful lyre. M.- t \ • ever ^in<^ Tin- Virgin's Son and angels' King, Xik 1 praise, with tin- celestial h< Tli< Son, and Holj A Philadelphia Choir Book of 1787 219 The first twu lines are repeated, and the twice-sung lines are followed by " Da Capo " ! 4<; (pp. 130, 131): "Praise the Lord," etc., a prose anthem. 50 (pp. 132-133) : "1 will glorify thee," etc.. a prose anthem. 51 1 pp. 134-136) : " O Deus ego amo te, Nee amo te ut salve- me," etc. And so we are brought to the end of this curious choir- book, tt is, indeed, a curious volume, without orderly ar- rangement of its contents; with apparently haphazard in- clusions ol stanzas from the Tantuni Ergo, the psalm I fitebor, and the texts of the Mass; and with a superabund- ance of "anthems" apparently from Anglican sour And we are surprised not to find any mention of the " O Salutaris Hostia " or of the " Vdeste Fideles Looking at the contents more closely, we notice that it comprises some "Hymns", many "Anthems", a make- shift " Mass ". a Ma-- for the Dead 1 not liturgically o m- plete), a "Vespers" for Sunday, the four anthems of the Blessed Virgin, an " Ave Maria ". and a few other things. These inclusions are placed in the volume almost without any thought of an orderly arrangement. In order to take account of stock, let me try to categorize, in some fashion, the content-. Hymns. 1 : While Angels to the world proclaim. O great Creator of the light. Sing ye praises to the Lord. Hail to the Queen who reigns above. My soul, thy great Creator praise. Tantum Ergo. Young men and maids, your praises join. 12: Tantum Ergo, Latin, one stanza. No. 12: Veni Creator, Latin, one stanza. No. 1 : No. 5: No. 7- No. 8: No. 9: Xo. 10: No. 11 : No. 12: 220 American Catholic Historical Society No. 15: The wonders which God's laws contain. No. i": Jesus, the only thought of thee («S lines). No. 22: Stabat Mater. No. -'4 : How various, Lord, thy works are found. No. 27 J Lei all who would God's goodness prove. No. 32 : Through all the changing scenes of life. No. 35: Let the bright Seraphims in burning row. No. 36: Dies trae, English version. No. 37: Grateful notes and numbers bring. No. 39: Praise the Lord with cheerful noise. No. 48: This solemn feast our joyful songs inspire. Xo. 51: Deus, ego amo te, Xec amo te ut. Of these. ! strongly suspect that only Nos. 5 (transl. of " Lucis Creator "), 8 (transl. of " Salve Regina "), 10, ll (transl. of "O Filii et Filiae"), 12 (one Latin stanza of " Veni Creator" and of " Tantum Ergo"), 16 (transl. of " Jesu dulcis memoria " I, 22 | " Stabat Mater " >. 36 1 one English stanza of ''Dies Irae"), and 51 (the hymn at- tributed sometimes to St. Francis Xavier) are of Catholic authorship. Of the twenty-one hymns, therefore.* I think- that eleven are of Protestant authorship. Thus, No. 9: " My soul, thy great Creator praise" has for its author Isaac Watts, the "founder of | Protestant] English hymnody ". Me embodied in it some lines by Sir I. I >enham. No. 32: "Through all the changing scenes of life" is from Tate & Brady's New Version ^t the Psalms ( publ. in .60S). No. 35 : "Let the bright Seraphims (sic) in burning row" is an aria in Handel's oratorio of Samson. No. 37: " Grateful notes and numbers bring" is appar- ently by the Rev. Wm. Dodd, an Anglican clergyman. These are the only hymns of supposedly Protestant au- thorship which 1 have been able to identify. Who can fur- nish me with the authorship of the foil -wing: A Philadelphia Choir Book of ij8j 221 No. l : While angels to the world proclaim. No. 7: Sing ye praises to the Lord. No. 15: I'he wonders which God's laws contain. No. 24: How various. Lord, thy works are found. No. -7 : I *et all who would ( iod's goodness prove. Xo. 39: Praise the Lord with cheerful noise. No. 48: This solemn feast our joyful songs inspire. . tnthems. No. [9: anima beata quae suspirat ad te. No. 20: This is the day winch the Lord. No. 2i : Sing to the Lord a new song. No. 23: Lift up your gates. No. 25: King of king-. Lord of lords. No. 26: ( ) praise ye the Lord. No. 28: < ) praise ye the Lord. No. 29: < ) Be joyful in the Lord. No. 30: Make a joyful noise unto God. No. 31 : We adore and worship thee. No. 33: Sing unto God, ye kingdoms. No. 34: Let US magnify thee. () great God No. 46: Benedicamus Patrem, el Filium. No. 47: Praise the Lord. Jerusalem. No. 40 : I 'raise the Lord. Xo. 50: I will glorify thee. t u these sixteen AnthemSj the words of Nos. 19. 20, 31, 40. are Catholic. 1 think the remaining twelve are Prot- estant translations or adaptations of the Psalms. I suspect strongly that all sixteen are set to music of non-Catholic authorship. I do not include the Anthems of B. V. M. Psalms. Besides the psalms for Vespers ( No. 5) in Latin, I find an English translation of one verse of the Miserere (No. 7) ; a versified translation, which I have noted above as a hymn, of "Psalm CIV" (it is Psalm CUT in our Vul- 222 American Catholic Historical Society gate!) ; the " Confitebor " (but only two verses) ; and var- ious translations or adaptations of the Psalms noted above (e. g. Nos. 23, 26, 28, etc.) as " Anthems ". Masses. The " Holy Mass of the Blessed Trinity " has a most de- fective text for the Gloria and the Credo, the references to the Third Person of the Holy Trinity being (amongst other portions of the text) omitted. This is curious, as the Mass is styled "of the Blessed Trinity". The copy of the volume owned by the American Catholic Historical Society records, in writing, that it belonged to the choir of the Church of the Holy Trinity ! The Mass for the Dead is also liturgically defective in text. Miscellaneous. We find five settings of the Litany of Loreto : some Ver- sicles and Responses; eight tunes (without words) for Ger- man hymns ; the Ave Maria in Latin, set to a modern mel- ody; and a " Litaney uebe (sic) die Geheimnissen " with- out words. It is a strange mixture suggesting the thought that John Aitken was a publisher who naturally tried to include in his volume for Catholic use a large portion of other and non- Catholic music carried by him in stock. For the volume smacks throughout of non-Catholic editorship, both by its inclusion of so many " Anthems " and of Protes.tant ren- derings of the Psalms in English verse, and by the scrappy editing of the distinctively Catholic requirements in respect of Mass, Vespers, Benediction. Or we may draw the pathetic conclusion that Catholic repertoires at that day were very restricted, perhaps because of a slight intercourse in business matters with the Mother Country from which the United States had so recently and so successfully seceded. It is true that, if we consider the A Philadelphia Choir Hook of ijtiy 223 very slight limits of the little volume put forth by Coghlan in London in 1782, and reissued by him in [799 (priced at three shillings!). Catholics really knew of little that they could sing appropriately in church. Yet, within the sixty- four pages of Coghlan's umo volume :: I find plainsong set- tings of the four anthems B. V. M.; an alternative setting <>f the Salve Regina ; nine settings of the Kyrie for the Litany of the B. V. M.: the Prose (Puer nobis nascitur ) for the Nativity of our Lord ; the Adeste Fideles ; the Sta- bat Mater; the Miserere in Latin; the O Filii in Latin; the anthem for Ascension (O Rex Gloriae ) ; the complete Veni Creator; the Sequence (Veni Sancte Spiritus) in two set- tings ; the O Sacrum Convivium in three settings ; the Tota Pulchra in two settings; the hymn O Roma Felix; the Te Deum : seven settings of the Tantum Ergo ; two of the O Salutaris; Ilaec Est Praeclarum ; Ave Maria; two settings of Domine Salvum Fac; the Ave Verum; the antiphon O Onam Sua vis; the Adoro Te; the Panis Angelicus; the O Jesu Deus magne; the Tu Solus Fons Amoris; the Deus Cordis Mei ; the Jesu Salvator Mundi ; the O Meritum Pas- sionis ; all these are in Latin text exclusively. But the var- ious Primers and Divine Offices which had appeared before 1787 in England for Catholic use would have furnished many translations of Latin hymns, sequences, anthems, etc. Tn another paper I shall take up for consideration the edi- tions of the " Compilation " appearing at Philadelphia in 1791 and 181 4. H. T. Henry. 3 " An Essay or Instruction for Learning the Church Plain Chant. To which are added Various Litanies, the Te Deum. Domine for the King. Tantum Ergo, and Motets at Exposition. Benediction of the Blessed Sacrament. &c. &c. With Approbation. London : Printed by J. P. Coghlan. Hike Street. Grosvenor Square. MIHV.XCIX. Three Shillings." It had been previously issued in 1782. and might conceivably have reached Philadelphia between the ye. when peace was declared between England rod America) and 1787 (when Aitken compiled his volume 1. Tin- 17SJ edition has a different title- page, but its musical content- arc those of tin- 1790 edition. PRINCE GALLITZIN'S FIRST VISIT TO THE ALLEGHENY MOUNTAINS. In an old record book kept by Father Tuigg I* find the following ac- count of Doctor Gallitzin's first visit to the Allegheny Mountains. Nowhere have I seen in print this interesting and very singular story. I give it as I find it in Father Tuigg's own words. The story runs thus: In the spring of the year 1795 Doctor Gallitzin, then called the Rev. Mr. Smith, received the first convert to Catholicity on the Allegheny Mountains and under the following circumstances : "In the year 1770 Susanne Barlow, born of Methodist parents, was married by Rev. Mr. Mulhall to John Bur- goon, a Catholic, somewhere near Elk Ridge, Maryland, Susanne's birthplace. After marriage they lived up to the year 1794 at Pipe Creek, now Adams county, Pa. In the spring of the following year Susanne took sick and expressed a wish to be received into the church. At that time Conewago, Adams county, wasjdie nearest point at which a priest resided ; and -as-there were no railroads or any other public thoroughfares it was very difficult to get a person who would venture on the journey. At last John Walshe, who was married to old Captain Michael McGuire's sister, volunteered to go for the priest. Walshe went direct to Emmittsburg, then the home of Dr. Gallitzin. When Walshe arrived at Emmittsburg Dr. Gallitzin had left for Baltimore. Walshe followed him thither, but before he reached Baltimore the Rev. Mr. Smithf had left for some other point. *The Rev. Morgan M. Sheedy, of Altoona, in The Pittsburgh Ob- server. tDr. Gallitzin went by the name of Mr. Smith. J VOL. XXVI DECEMBER. 1915 NO. 4 IRecorbs of tbe ot fgkiln&zlp'hm WITH WHICH IS COMBINED AMERICAN CATHOLIC HISTORICAL RESEARCHES S2.00 PER YEAR PublisHed Quarterly by the Society 715 Spruce Street, Philadelphia Copyrighted. 1915 American Catholic Historical Society. SINGLE NUMBER. 50 CENTS TABLE OF CONTENTS. PAGE Don Agustin de Iturbide 289 By Augustin de Iturbide. Philadelphia Choir Books of 1791 and 1814 311 imixmwttmz^muuKMtoMYMimimmWivmmim* Epistle or Diary of the Reverend Father Marie Joseph Durand 328 Translated from the French by Ella M. E. Flick. Historical Address Delivered by the Rev. Morgan M. Sheedy, LL.D., on the i6qth Anniversary of the Organization and the 57TH Anniversary of the Consecration op St. Mary's Church, Lancaster, Pa., Sunday, March 26, 191 1 . 346 A Papal Ablegate in America. Report of Mgr. Gennaro Stra- nier> ion for the Presentation of the Red Biretta to Car- dinal Gibbon- 361 By the Rev. Joseph J. Murphy, J. CD. Father Peter Helbron's Paptismal Register at Sportsman Hall, P 37* By P. Felix Fellmer, O.S.B. Historical Sideligi Book Reviews 380 Entered at the Philadelphia Post-Office for transmission through the mail as Second-Class Matter. Tou can aid the American Catholic Historical Society in its work The Beneficial Saving Fund Society OF PHILADELPHIA 1200 and 1202 Chestnut Street Incorporated April 20, 1853 Interest 3.65°1 Per Annum. assets .... DEPOSITS - SURPLUS .... NUMBER OF DEPOSITORS Seventeen Million Dollars Fifteen and a Half Million Dollars One and a Half Million Dollars Over Fifteen Thousand ACCOUNTS OPENED BY MAIL IGNATIUS J. DOHAN, President. ANDREW J. KEEGAN, Vice-President. ALFRED J. MURPHY, Secretary and Treasurer. ANTHONY A. HIRST, Esq., Solicitor. BOARD OF MANAGERS Alfred J. Murphy, Jeremiah J. Sullivan, Ignatius J. Dokan, Charles A. McManus, John T. Dohan, John A. Leslie, John A. Dougherty, William V. McGrath, Jr. Walter George Smith, Anthony A. Hibst, Ignatius J. Horstmann, George W. Norris, D. Webster Dougherty, John J. MacDonald, Andrew J. Keegan, William P. Sinnett, James M. Kelley, Joseph M. Engel, Edward J. Doonbr, Joseph C. Trainer, Hon. Joseph F , Lamorelle, John E. Lonergan, Thomas Devlin, Hugh McCaffrey. M. F. Hanson. By purchasing from Advertiser! in the Records, KtLUKUS Uh IHfc American Catholic Historical Society Vol. XXVI December, 191 5 No. 4 PHILADELPHIA CHOIR BOOKS OF 1791 AND 1814 IN the Records for September, 1915, 1 I gave a detailed account of John Aitken's sumptuous volume for the use of Catholic choirs. The book was found to be remarkable in several respects. Viewed simply and strictly from the standpoint of adaptability to Catholic choral use, it appeared to be lavishly inadequate. It did not contain the O Salutaris or the Adeste Fideles, but it was replete with Protestant hymns and anthems in English text. It was miscellaneous in the character and the location of its contents. Inclusions which should have been grouped in one part of the volume (such as the Mass, the Vespers, the Benediction Service, and the Mass for the Dead) were separated from one another by hymns or anthems in English. Both of the masses were liturgically defective in text, the " Holy Mass of the Blessed Trinity ' r especially so. The Edition of 1791 Although the 1787 volume was very inadequate for the needs of a Catholic choir, we may trust that the en- terprise of its publisher did not go without proper finan- cial recognition. At all events, he was evidently encour- aged to produce a new edition four years later (1791) which bore a new title : " A / Compilation / of the Litanies/ Vespers Hymns and Anthems, As They Are Sung in the Catholic Church./ Philadelphia Printed and Sold by John Aitken 1791." This title-page is an entirely new engraving and pre- sents an equally elegant appearance with that of the 1787 1 See (pages 208-223) A Philadelphia Choir Hook of 1787. 312 American Catholic Historical Society volume. The reverse of this page is blank. The next page bears the legend : " District of Pennsylvania, to wit : " Be it remembered that on the twenty-fifth day of November in the sixteenth year of the Independence of the United States of America, John Aitken, of the said District, hath deposited in this Office the title of a Book, the Right whereof he claims as Author in the words follow- ing, to wit : "A Compilation of the Litanies, Vespers Hymns and Anthems as they are sung in the Catholic Church. 11 In conformity to the Act of Congress ..." (etc.). Turning over the pages of this volume (which is a small quarto like that of 1787), we notice immediately that the harmonization adds a third voice to the two parts (air and bass) given in the former edition. Besides this, the contents are arranged differently and, in some places, differ largely in detail. They now have a fairly logical connection ; and one may suppose that a chief part of whatever criticism was launched against the earlier volume must have been on the score of the disconnected and apparently haphazard placing of the various inclus- ions. In both editions, the contents-page gives inclus- ions in their page-order, and not alphabetically — a feature that makes the consultation of either choir-book some- what fatiguing. But it is clear that John Aitken went to much expense and trouble to make this later edition satisfactory to his prospective clients. That in some respects it was still far from perfection, as we shall see, doubtless should not be construed as a fault on his part, but rather — if fault there was — on the exceedingly humble repertoire of the Catholic choirs of that time, or else on the negligence and oversight (implicitly arraigned, in our own day, by the Motu Proprio of Pius X. on Sacred Music) of the ecclesiastical superiors. Philadelphia Choir Books of ijyi and 1814 t } 1 % } It will be convenient to note the contents in the same way as I have done for the 1787 edition. For brevity's sake, I will refer to this 1787 volume as "A": 1 (pp. 1-3) : Litany of Loretto, three settings. 2 (p. 4) : Komm reiner Geist (German text given with the tune). 3 (PP- 5' 6) • Veni Creator (in Latin and English) : M Spirit, Creator of mankind. Visit every pious mind And sweetly let thy grace invade Such breasts, O Lord, as thou hast made. "Thou art the Comforter whom all Gift of the highest God must call ; The living Fountain, Fire and Love, The ghostly unction from above. "God's sacred ringer which imparts A Sevenfold grace to faithful hearts, Thou art the Father's Promise, whence We language have and eloquence," etc. This appears to be the translation given by the Primer (London) of 1687. It is repeated in Father James Hoerner's Manual of Catholic Melodies (Baltimore, 1843). I have stopped my quotation at a line which is suggestive of Dryden ; and, indeed, as that poet of the sonorous line and energy divine was converted to the Catholic faith in 1686, it is not improbable that he was the author of the version. We all know his excellent one : 'Creator Spirit, by whose aid The world's foundations first were laid. Come visit every pious mind ; Come, pour thy joys on human kind : From sin and sorrow set us free. And make thy temples worthy thee,"' etc. It appeared in the Primer of 1706; but it seems to 314 American Catholic Historical Society me not unlikely that the version found in the Primer of 1687 was a first attempt ; for there are several resem- blances, of which this is perhaps the most striking (at the end of the third verse) : " Who dost the gifts of tongues dispense And crown thy gift with eloquence." The Primers of 1604, 1619, 1685, do not use the word "eloquence" — (surely a Drydenesque word!) — while those of 1687 and 1706 (the latter certainly by Dryden) do use that word. For this reason I venture to complete the elegant version (since it may be Dryden's !) : " Enlighten, Lord, our souls, and grant That we thy love may never want ; Let not our virtue ever fail, But strengthen what in flesh is frail. " Chase far away our mortal foe And thy blest peace on us bestow ; Let thy direction on us shine That sin and vice we may decline. 11 By thee let us the Father know ; Vouchsafe likewise the Son to show ; And let's believe in Thee, who dost Proceed from both, and Holy Ghost. " Most gracious may the Father reign. And so the Son, who rose again ; Together with the Paraclete, Through years and ages infinite." ' *In the Manual of Catholic Melodies of 1843, the three last-quoted stanzas are as follows : " Chase from our minds th' infernal foe And peace, the fruit of love, bestow ; And lest our feet should step astray, Protect and guide us in the way. Philadelphia Choir Books of ijyi and 1S14 315 4 (pp. 7, 8) : The Pange Lingua is given complete in Latin and English : " Sing, O my tongue, adore and praise The depth of God's mysterious ways," etc. It is from the Pritner of 1706, and may be Dryden's translation. It is sufficiently accessible in prayer-books of older date than the present-day ones, and need not be quoted in full here. " A " does not give the English verse. 5: "The Holy Mass of the Blessed Trinity" (as in "A", pp. 101-109, but without the "Praise the Lord" which there is placed before the Sanctus — apparently as an "Offertory.") x The four years intervening between 1787 and 1791 might be considered a sufficient space of time to have had attention more than once directed to the immense lacunae in the texts of the Gloria in Excelsis and the Credo in unum Deum, as these liturgical texts were printed in the edition of 1787. And yet the same omissions occur in the 1791 edition! And — if one may be permitted to comment on a humorous circumstance in connection with these choir-books for divine service — I notice a written legend on the inner cover of both of these volumes to the effect that they were in use in " Make us eternal truths receive, And practice all that we believe : Give us thyself, that we may see The Father and the Son in Thee. " Immortal honor, endless fame, Attend th' Almighty Father's name: To the Son equal praises be. And, Holy Paraclete, to Thee.' 1 If this conjecture is correct, it would appear that the rubrics forbid ding the singing of vernacular texts at a Hi^h Mass were either unknown or ignored by our forefathers here. 316 American Catholic Historical Society the choir of Holy Trinity Church in Philadelphia in the olden days. It follows by a pretty fair inference that " The Holy Mass of the Blessed Trinity " was sung faith- fully, and doubtless competently, by the good choristers of that famous old Philadelphia church, although the liturgical texts they were rendering made no obvious provision for singing those very important portions of the Gloria and of the Credo which deal with the Third Person of the Blessed Trinity. May we indulge the hope that these portions of the text were really not omitted, but were sung perhaps " recitatively " in a monotone, while the organ played a ''symphony"? 6 (pp. 25-55) : Vespers for Sundays (in Latin and in English). " A " had only the Latin texts of the Psalms. We now find them, in the 1791 volume, in column and parallel form, in both Latin and English. The hymn " Lucis Creator " is also given in both Latin and English, and not merely, as in "A", in English only (and only one stanza). We have also the four anthems of the Blessed Virgin in due place in the volume; and Psalm 50 (Miserere) is given in both Latin and English (unlike "A"). 7 (56-65) : The Missa pro Defunctis (with the Dies Irae in full Latin text, unlike the "A" arrangement), with a full liturgical text. 8 : The Dies Irae is given in full in English verse : " That day of wrath, that direful day Shall all the world in ashes lay, As David and Sybilla say. " How shall poor mortals quake with fears When the impartial Judge appears Who all their causes strictly hears ! " His trumpet sounds a dreadful tone : The noise through all the graves is blown And calls the dead before His throne. Philadelphia Choir /looks of ijtji and /<¥/./ 317 " Nature and death shall stand and gaze When creatures shall their bodies raise And answer for their ill-spent days," etc. 1 9 (p. by) : Ps. 129 (De Prof unci is) in Latin and English. 10 (p. 68; in "A", p. 25): "Sing ye praises to the Lord, allelujah ' . The tune is used to-day by Hymns Ancient a?id Modern, and the English Hymnal (the best of present-day Anglican hymnals) for the hymn : "Jesus Christ is risen to-day, alleluya ! " The splendid tune, found first in Lyra Davidica, A Collection of divine songs and hymns (London, 1708) has been sometimes ascribed to H. Carey. 11 (p. 69; "A", p. 27): "Psalm CIV" (really a translation of Ps. ciii of the Vulgate), but, unlike ''A", now in three parts or voices. 1 I should be much pleased to learn the source of this version. It is not known to Mr. Warren, whose work on the Dies Irae (London, 1902, 170 pages) gives the first lines of 135 versions into English by- English and American authors. The translation reappears in Hoer- ner's Manual of Catfwlic Melodies, but with a slight alteration in the first stanza : " That day of wrath, that direful day Shall in the heavens the cross display. And all the world in ashes lay. " How shall poor mortals quake with fears When their impartial judge appears, Who all their causes strictly hears," etc. This is a rendering of the corrupted text : Dies irae, dies ilia. Cruris cxpandens vexilla. Solvet saeclum in favilla. for the original Dies irae. dies ilia. Solvet saeclum in favilla. Teste David cum Sybil la. 318 American Catholic Historical Society 12 (p. 70), three-voice harmony to " Grateful notes and numbers bring" ("A", p. 98). J 3 (p- 73) '• J esu dulcis memoria (in English transla- tion), but, unlike "A" (p. 39), now in 13 stanzas of 4 lines each; but the last is in five lines : "Then I'll forever Jesus sing, And with the saints rejoice ; And both my heart and tongue shall bring Their tribute to my dearest King In never-ending joys." 14 (p. 74 ; in " A ", p. 36) : " The wonders which God's laws contain ". 15 (p. 79; in "A", p. 61); "This is the day". 16 (p. 84; "A", p. 29): "The Easter Hymn" (now differently spaced). 17 (p. 85; in "A", p. 66J: "Sing to the Lord" etc. 18 (p. 87; in "A", p. 68): "Lift up your gates" etc. From this point onwards both volumes fairly agree in the order of inclusions. The engraving is entirely new, however; and the word " Seraphims " (in "A": "Let the bright Seraphims" etc.) is "Seraphim". 1 may mention some further inclusions, although what has been sufficiently demonstrated is, I think, the variant character of this new edition, and its very large improve- ment in arrangement, as well as in fulness. Pages 1 51-154 give the O Esca Viatorum in Latin; 154-157, the Jesu Dulcis Memoria in Latin; 157-159, the O Jesu Deus Magne etc.; 160, the first stanza of the O Salutaris (in Latin); 163, the Asperges (to a tune fre- quently used to-day); 165-179, a modern Mass in com- plete liturgical text; and, finally, 180, 181 (where the volume ends), "O allerhoechste Speise ", with German text. What I have noticed in this paragraph are addi- tions to the 1787 volume. Altogether, the improvement is a great one from the standpoint both of the liturgist Philadelphia Choir Books of 1791 and 1814 319 and of the Catholic choralist. And it is clear that John Aitken went to considerable expense to make his attrac- tively engraved volume acceptable to Catholics. The Edition of 1814 John Aitken had done fairly well in his attempts to meet the needs of Catholic choirs. But now we descend to a much inferior piece of work, in large quarto form : "A collection of/ Litanies, Vespers, / Chants, Hymns, / and / An- thems, / As used in the Catholic Churches of the United States. / A new Edition, / carefully revised and corrected from the former editions. / Philadelphia / Published and sold by Charles Taws, at this music store, / No. 61, South Third-street. / 1814." The two volumes of Aitken were engraved ; the present volume comprises engraved music to page 57 inclusively (which, strangely enough, is a left-hand page) and then begins a section of printed (and badly printed) music, from page 57 — (this is a right-hand page, facing the engraved page 57) — to the end of the volume, which occurs at page 87. The title-page and the contents-page are printed. The volume is perhaps made up of two editions ; but whether the engraved part preceded in year of issue the printed part, I do not know, It will be convenient, for purposes of comparison, to refer to the 1791 book as " B " (as I have already referred to the 1787 book as "A"). I note the following in the 1814 volume : 1 (pp. 1-8) : " The Holy Mass of the Blessed Trinity ". It is the same as in "A" and " B ", with great omissions of the liturgical text in the Gloria and in the Credo ; and the humor of the old situation is revived, for this " Holy Mass of the Blessed Trinity" omits the references to the Third Person of the Blessed Trinity, found in the Gloria and the Credo ! In twenty-seven years (from the time of the 1787 volume) it would appear that no responsible 320 American Catholic Historical Society person had noticed the immense omissions in this Mass, for they occur again in this edition, which is declared to be " carefully revised and corrected from the former editions". The Mass is followed by " Dominica ad Vesperas ", which section has only the " Deus in adjutorium meum intende" (with its response), the Gloria Patri and the Alleluia (together with " Laus tibi, Domine, Rex aeternae gloriae"): but has no psalms or any other part of Ves- pers, save the : 2 (pp. 8-17): Four anthems of the Blessed Virgin. Following this we have : 3 (p. 18): "This is the day which the Lord hath made" (in "A", No. 20). 4 (p. 20): " Sing to the Lord a new song" (in " A " No. 21). 5 (p. 21): " Lift up ye gates " etc. (in "A", No. 23). 6 (p. 21): "Sing, sing" etc. 7 (p. 26); "Praise the Lord" etc. (in "A", No. 49). 8 (p. 27): "I will glorify thee, O God, my King" (in "A", No. 50). 9 (p. 29): Confitebor tibi Domine, etc. (as in " B ", two verses). 10 (p. 31): " O Deus ego amo te " etc. (in "A " No. 51). 11 (p. 32): "O anima beata", etc., (in "A", No. 19). 12 (p. 33): " Benedicamus Patrem et Filium " etc. (in "A", No. 46). 13 (P- 36) : " Jesu dulcis memoria " (cf. " B ", No. 13). 14 (p- 37)', " O Jesu Deus Magne " (in " B ", pp. I57-I59)- J5 (P- 39)" "O praise ye the Lord, laud ye the name" etc. (in "A", No. 28). 16 (p. 39): " Praise the Lord, Jerusalem" etc. (cf. "A", No. 49). 17 (p. 40): " Let the bright Seraphims " etc. (in " A ", No. 3s). 18 (p. 43): "Praise the Lord with cheerful noise" (in "A", No. 39 • 19 (p. 45): " We adore and worship thee, O Christ " (in "A ", No. 31). 20 (p. 46) : " Make a joyful noise " (in " A " , No. 30) . 21 (p. 47): " Let us magnify thee" (in "A ", No. 34). 22 (p. 49) : " O be joyful " (in " A " , No. 29) . ^3 (P- 50: " O praise ye the Lord " (in " A ", No. 28). 24 (p. 52): " King of kings, Lord of lords" (in "A ", No. 25). 23 (p. 54): " O Salutaris ", one stanza, as in " B ". Philadelphia Choir Hooks of ijvi and 1814 321 -4 'p. 55): " Sing ye praises to the Lord " (as in " A ", No. 7). 25 (p. 56): "Grateful notes" etc. (as in " A ", No. 37). 26 (p. 57): "Jesu dulcis memoria " (as in " B", one stanza of 8 lines). 2 7 (P- 57. right-hand side, in printed music): 'Salve Regina " in English verse (as " in " A ", No. 8). 28 (p. 58) : " Komm reiner Geist ' ' (cf . "A" and ' ' B " ) . 29 (PP- 58-59): Six settings of the Litany B. V. M. 30 (p. 60): " Veni Creator " in Latin and English, as in " B ". 31 (p. 61): " Pange Lingua " in Latin and English, as in " B ". 32 (pp. 62-67): The psalms of Vespers, the Lucis Creator, Magnificat. Miserere, all in Latin and English. 33 (p- 67): "Ave Maria " as in " A ". 34 (pp. 68-71): Missa pro Defunctis, with the Dies lrae in full Latin. 35 (P- 72): " Dies lrae " in full English, as in " B ". 36 (p. 72): Psalm 129 in English and Latin. 37 (P- 73): " Psalm CIV " (Ps. ciii in Vulgate) as in " A " and " B ". 38 (p. 73): " The wonders which God's laws contain ", as in " A '". 39 (P- 75) : " Whilst angels to the world proclaim " , as in " "A 40 (p. 76) : " Young men and maids " as in 4i A " and " B ". 41 (p. 77): " How various " etc. , as in "A 42 (p. 77): " Let all who have" etc. 43 (P- 78): "Through all the changing" etc., as in " A " No. 32. 44 (P- 79)- the Asperges, as in " B". 45 (pp. 80-86): " In die solemni Missa " — a modern Mass, in full litur- gical text. 46 (p. 87): *' O allerhoechste Speise ". Here endeth the badly built, badly printed, badly edited, volume which was " carefully revised and corrected from the former editions". In the twenty-three years that elapsed since the 1791 volume appeared what deteriora- tion in typographical taste must have occurred ! But quite apart from this matter of ugly print versus good engraving, the editing of the 1814 book is poorer than that in the 1791 edition. Thus (as the contents I have cited will clearly show) the rubric or title "Domin- ica ad Vesperas", which is placed immediately after the "Holy Mass of the Blessed Trinity", contains nor the psalms under it, but only some versicles, respoi and the Gloria Patri, and ia forthwith followed by the 322 American Catholic Historical Society four seasonal anthems of the Blessed Virgin. After much intervening and irrelevant matter, the Vesper Psalms appear (see above, No. 32) together with the Hymn ("Lucis Creator"), the Magnificat, and also (but why in this place?) the Miserere. Similarly, the Bene- diction service is split up, one stanza of the O Salutaris appearing on page 54 and then, after much intervening and irrelevant matter, the Pange Lingua being given on page 61. A closer study of the contents will show further curious inclusions and editorial oversights. As for the inclusions, we still find the Protestant translations, in hymnal form, of the Psalms, and the (apparently Ang- lican) " anthems ". And these are sandwiched, appar- ently at haphazard, between those peculiarly Catholic texts (such as those for Mass, Vespers, Benediction) which any kind of careful editing would have placed in close juxtaposition with one another. On the other hand, it is clear that the editor of the 1814 volume had at hand both editions of the " Compila- tion" of John Aitken, for while the miscellaneous* char- acter of the inclusions and their haphazard arrangement remind us of the 1787 edition, the fuller texts, both in Latin and in English, are those of the 1791 edition. But, finally, the editor is to be complimented on No. 45, the Solemn Mass with full liturgical text. It is of bibliographical interest to note that no mention occurs in Finotti of any of these Philadelphia Catholic choir-books of 1787, 1791, 1814. The copyrighting process differed in the case of John Aitken's two ventures in Catholic music-publishing. The 1787 volume bore this legend : l, James Biddle, Prothonotary of the Court of Common Pleas of Phila- delphia County, do certify that John Aitken hath entered in my Office according to Act of Assembly, a certain book published by him, entitled " A Compilation of the Litanies and Vespers Hymns and Anthems as Philadelphia Choir Books of 1791 and 1814 323 they are sung in the Catholic Church, adapted to voice and or^an'' containing 130 pages in quarto. Witness my hand, this 8th April, 1788. James Biddle. Prot. The 1791 volume claims copyright as follows: District of Pennsylvania, to wit : Be it remembered that on the twenty-fifth day of November in the sixteenth year of the Independence of the United States of America, John Aitken, of the said District, hath deposited in this Office the title of a Book, the Right whereof he claims as Author in the words follow- ing, to wit : A Compilation of the Litanies, Vespers, Hymns and Anthems as they are sung in the Catholic Church. We notice here that the claim set forth by John Aitken that he is the "Author" seems to follow the curious custom of the eighteenth century, in virtue of which the word "author" was, in several connections, used where we to-day should use the word "compiler". For John Aitken was not the author of the texts, some of which I have already pointed out specifically as the work of Isaac Watts, W r illiam Dodd, etc. There is no reason to think that he composed any of the music. But as he published the volume, he was, in the sense, its "author'' or "pro- ducer". [He frankly styles his choir- book a "Compila- tion" in both of its editions (1787 and 1791).] He does not claim right as "author" in the 1787 volume; and it may be that he had a musician provide the third voice in the harmony for the 1791 volume, and could thus claim special proprietorship of that volume. The 1814 volume, published by Charles Taws, gives us a new title, just as the title of the 1791 book differed from that of the 1787 volume: "A Collection of Lit- anies, Vespers, Chants, Hymns, and Anthems, as used in the Catholic Churches in the United States. A N Edition, carefully revised and corrected from the former editions." What these former editions were, I do not know. The first two editions were those, doubtless, of 324 American Catholic Historical Society 1787 and 1 79 1, of which the latter was obviously a care- fully revised edition of the former. But the 1814 edition of Taws shared some of the careless editing of the 1787 edition. Possibly his claims of revision and correction are based on musical misprints. I have not made it part of my present business to compare the various musical editings, however. My main interests were, first, the substance of the texts used, and then their arrangement for use by a Catholic choir. With respect to the substance of the texts, I have already noted in my previous article the obviously Protestant character of some of them. The " anthems " have quite disappeared from our choir-books, and I think that all of the disputable hymns have also disappeared from our use. I was curious to discover how many of the hymnal texts of the 1787 and 1791 and 1814 volumes survived. The beautifully printed Manual of Catholic Melodies, or a Compilation of Hymns, A?ithems, Psalms, etc. With Appropriate Airs, and Devotional Exercises for the Ordinary Occasions of Catholic Piety and Wor- ship which was edited by the Rev. James Hoerner and was published in 1843 at Baltimore by John Murphy, still preserved the following texts (whose numbering I gave in my previous article) : No. 5: O Great Creator of the Light. No. 7: Sing ye praises to the Lord. No. 8: Hail to the Queen who reigns above. No. 9: My soul thy great Creator praise. No. ex: Young men and maids (but textually changed somewhat). No. 15: The wonders which God's laws contain. No. 16: Jesus, the only thought of thee. No. 24 : How various, Lord, thy works are found. No. 27: Let all who would God's goodness (first line changed). No. 37: Grateful notes and numbers bring. In Hoerner, No. 27 reads: "Let all who have God's Philadelphia Choir Books of Ifpi and 1X14 325 goodness proved." Similarly, No. 11 begins: "Young men and maids, rejoice and sing." Cunningham's Hymn Book was published in 1854 in Philadelphia. I find in it only Nos. 9, 11, l6 and 37. Nos. II and 16 are of Catholic authorship. Differently translated from the original Latin texts of O filii ct filler and Jesu dulcis mcmorla respectively, they are still found to-day in our hymnals. I think that numbers 9 (by Rev. Isaac Watts) and 37 (by Rev. Wm. Doddj have quite disappeared. In my article on A Philadelphia Choir Book of 1787 in the Records for September, 191 5, 1 was able to identify (page 220) four of the hymns as of Protestant authorship. I can now add another to the list, for No. 24 (" How various, Lord, thy works are found") is Part II. of Tate and Brady's translation of ''Psalm CIV" ("Bless God, my soul; Thou, Lord, alone"). In our Vulgate, this Psalm is number Oil. See my comment on hymn No. 9 (" My soul, thy great Creator praise") by the Rev. Isaac Watts, who is con- sidered to be the founder of English Protestant hymnody. I have not been able to determine the authorship of these hymns, therefore : No. 1: While angels to the world proclaim. No. 6: Sing ye praises to the Lord. No. 15: The wonders which God's laws contain. No. 27: Let all who would God's goodness prove. No. 39: Praise the Lord with cheerful doi No. 48: This solemn feast our joyful songs inspire. \n interested correspondent writes me that "some of the hymns and anthems in the Catholic Choir Book of 1787 are in a Col led ion of Psalm Tunes for the use of the united churches of Christ Church and St. f\\ Church, Philadelphia, published in 1763." In resj of this claim I have to remark, first, that the 1703 vol- ume referred to doe- not contain any "anthems" (in the 326 American Catholic Historical Society sense in which, in my former article, I used the word "anthems," that is, prose texts). It gives in all only thirty-six tunes, to eleven of which texts are given. Of these eleven texts, only three are found in our 1787 book. In comparing the melodies set to them, in either volume, I find that the 1787 volume gives variant forms of the tunes in two instances (namely, " Sing we praises to the Lord," and "Through all the changing scenes of life"). The third hymn (" My soul, thy great Creator praise") gives the same melody as the 1763 book. It seems clear, therefore, that the 1763 book was not either the source or a source for the 1787 book. For only three of its texts are taken, while two of the tunes are in variant forms (indicating a different source). I have to thank Dr. W. H. Grattan Flood for his kindness in pointing out to me, in an interesting letter, that the translation of the Salve Regina ("Hail to the Queen who reigns above"), quoted on page 212 of the Records for September, 1915, is in the primer of 1685, while the translation of the O Filii et Filiae which I quoted on pages 212-213 of the same issue of the Rec- ords is a variant of the hymn found in the Evening Office of 1748. Before taking leave of John Aitken, I should perhaps gratify my readers with a quotation from the Index to Mr. O. G. Sonneck's excellent Bibliography of Early Secular Music (Washington, 1905; printed for the Author by H. L. McQueen) : "Aitken (Aitkin), John. To be traced as music engraver at Philadelphia as early as 1787, as music publisher beginning with 1797. The ' Musical Repository, 96 North Second,' appears first in the Directory of 1807. After 1799 until 1806, he lived at 33 South Second St., before 1800 at various numbers in the same street." Confining his attention to secular music, Mr. Sonneck was apparently not aware of the Philadelphia Choir Books of ijcji and 1814 327 publication by Aitken of the 17S7 choir book, for he notes him ''as music publisher beginning with 1797" — that is, ten years later. Our interesting Choir Book of 1787, therefore, places Aitken as publisher at least as far back as 1787, and its bibliographical value is thus en- hanced. Those readers who may be interested in tracing- some of the secular publications or engravings of Aitken should look up the Index to Mr. Son neck's volume. One of his engravings bears the legend: "J. Aitken sculpt." Still another is signed : " J. Aitken, Sen.," from which we may judge that he had a son bearing the same Christian name. That he was a Scotchman (as a correspondent assures me), may possibly be deduced from his editorship of the Scots Musical Museum, adver- tised in January, 1797, as " just published and to be sold at the bookstores . . . and by John Aitken, the editor, no. 193, South Second Street," Philadelphia. That he an "amateur musician" is a point of some import- ance in connection with his labors on the 1787 and the 1 791 volumes. It is asserted by the same correspondent, and might be inferred reasonably, doubtless, from Ait- ken's editorship of the Scots Musical Museum and from his various sacred and secular musical engravings and publications. But one remark remains for me to make, namely, that the various editions of Aitken's Compilation and of Hoerner's Manual are now — so little have they affected our Catholic hvmnodv— as if they had never been. U. T. Henry. EPISTLE OR DIARY OF THE REVEREND FATHER MARIE JOSEPH DURAND 1 TRANSLATED FROM THE FRENCH BY ELLA M. E. FLICK Introduction In 1803 a number of French refugee Trappists came to America with a view of making- a foundation. The colony was headed by Pere Urban. After spending a short time in different places in the eastern part of the United States they went to the Mississippi Valley. In 1805 they were joined by a second delegation, headed by Father Marie Joseph. In 181 5 most of the surviving out of the two companies that had come over, went back to France. Father Marie Joseph remained for a while in the West, but in 1820 he too returned to France. When the rest of the Fathers started for France in 18 1 5, Father Vincent de Paul accidentally was left behind in Canada, whence his colleagues departed, and he founded a house there which has continued up to the present day. * After returning to Europe Father Marie Joseph made a written report in French to his Abbot about his trip to America. This report was printed in France along with a report made by Pere Vincent de Paul concerning the founda- tion in Canada. In 1886 a printed copy of these two reports was found in Canada. Father Vincent de Paul's report was at that time translated by Miss A. M. Pope and published in pamphlet form. Father Marie Joseph's report was copied from the printed book for the American Catholic Historical Society and a translation of it is now published for the first time. L. F. F. 1 The surname of Father Marie Joseph is taken from a foot-note in the the October number of the Catholic Historical Revieiv on Bishop Flaget's report to the Holy Father. You can aid the American Catholic Historical Society in its work The American Catholic Historical Society requests gifts of written chronicles, memoirs, diaries, genealogies, parish registers, historical paintings, engravings, views, early Catholic newspapers, pamphlets, portraits of priests, sisters and churches, relics, coins, by-laws and constitutions of Catholic societies, reports of Catholic institutions, Uni- versity and college catalogues; also American Catholic Quarterly Review, 1900- 1 9 14. Fortnightly Review, St. Charles, Mo., June 1, 1912, October 15, 1913, April 1, October 15, 1914. Mosher's Magazine, August, September, 1900, January, February, March, April, June, September, 1901, October, 1902, February, 1905. Champlain Educator, August, 1903, March, August, 1904, April, May, June, 1905, all of 1906 to end of publication. Lambing' s Historical Researches. Griffin's American Catholic Historical Researches, October, 1901, and any other numbers. Donahoe's Magazine, September, 1893, January, 1902. Maine Catholic Historical Magazine, July, August, October, 1913, January, February, April, May, 1914. Ave Maria, January to June, 1895, Vol. 40, and January 11, 1896. Clinch, J. B. California and Missions. Vol. 2. Flynn, History of Catholic Church in New Jersey. Baltimore, Catholic Review, Vol. I, January 10, February 7, March 21, April 18, May 9, 16, August 1, 8, 15, September 12, 1914 and January 30, 1015- Magazine of American History, first four volumes and any others. Gil low. Jos. Biographical Dictionary of the English Catholics. Vol. IV, and all after. Ar uhivum Hibernicum, published by the Record Society, St. Patrick's Col lege, Maynooth, Ireland. Vols. I and III. First volume of National Conference of Catholic Charities. Shea's Library of American Linguistics, Nos. 2 and 4. Seminary of St. Charles Borromeo. Reports before 1842. Also for 1855, 1864, 1881, 1882, 1903, 1904, 1005, 1906, 1913, 1914. O'Hanlon's Lives of the Irish Saint*. Vol. for September and October. FOR SALE Catholic World. Vols. I to 1008. by purchasing from Advertisers in the Records. (•miuaj) aiiMopstreq; ajoraq}.reAig (siOTitxii: : SAioijoj si? pacreooj div paAias sai^nmram ptre st?3 jo :*aaj oiqno OOO'OOO'SSG'l 'SI6I hi Pios u 3uiajos — 'BH^PP^IRdL J° sqjnqns aqq. ui ssamsnq s ^s^g; aq^ ^noqSnojq^ suMoq. ptre salvia A^jg araos in s:ur *^sx laqraaoaQ prre %s\ laqraa^dag ^sx aunf jo 3po^g re^id'GQ Smpire^no s^AiredraoQ aq^ uodn pre aq^ pu'B 'ranutre aad %9 jo a:rei aqi :re uaa^jg ^sin aq| -iAip piBd sbij ptre fs.reaA* xis-A^ua^x jo pouad -e jc -8J B IhnppiA* 4 (00I$ •"*<*) *0I$ jnoqts jb ftainas pi ViOO±S ANVdIAIOC o^ uoi;ua^i 1411-13 Locust Street "2/ s '■ // 1^7 v -^ y ■h^. * */ £L rf/ A • ^< * ~* n ■ ■