Overview

We are naturally interested in the work and career of one who took some part in Cambridge music, both sacred and secular, in past years. This book is primarily intended for those who are responsible for the music in the Roman Catholic Church in this country. It includes a. complete guide to the ritual offices in which music is employed, and it discusses the meaning of Pius X's Motu Proprio, the text of which is given in a translation. But the book will have interest for a wider circle. The principles which Mr. Terry lays down for determining the suitability of any particular music for use in church are admirable. And his other practical suggestions, e.g., for eliminating bad tunes, are prompted by experience and good sense. The chapters and appendix in which he reviews the history of English Church music are interesting. but Mr. Terry goes near spoiling his case by overstating it. He roundly states that ' the Anglican Church since the Reformation has produced no great music or musicians.' But Mr. Terry must not be allowed on such slender grounds as he gives to rule out Gibbons and Purcell. And Croft, in his setting of the Burial Office, reaches something higher than 'efficiency.' Mr. Terry is doing good service in calling attention to the old English masters, he edited Byrde's great five-part mass for a Birmingham Festival, and he has revived much good music in Westminster Cathedral. It is a pity that he should make it a matter of partisanship. Our national past belongs to all of us, and Mr. Terry should encourage us to recover what is good in that past without setting us by the ears with theological controversy. -The Cambridge Review, Volume 29

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9781671970847

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