¹ For a detailed account of the complex background and events surrounding this council see Butler, Cuthbert: The Vatican Council 1869–1870 (London: Collins, Fontana Library, 1930/1962R)Google Scholar.

² The literature on these developments is voluminous and wide ranging. Useful accounts are provided by Bossy, John, The English Catholic Community 1570–1850 (London: Darton, Longman and Todd, 1975): esp. 322–37Google Scholar , and Norman, Edward, The English Catholic Church in the Nineteenth Century (Oxford: Clarendon Press, 1984): esp. 31–4Google Scholar (on the shifting balance of power between laity and clergy) and 39–64; (on Wiseman) 110–15, 121–5, 129–32, 145–6 and 149–50 (on Ultramontane concerns over architecture and vestments); see also 234–7. Bossy was the first to draw attention to the possibility that control of English and Welsh urban missions in the early nineteenth century might have developed in the same way as in the Nonconformist churches. Norman, discussing the changing balance of power between the Catholic lay aristocracy and senior clergy, emphasizes the influence in favour of the latter exerted by Daniel O’Connell and the Irish-Catholic political movement.

³ England ceased to be regarded as mission territory under direct control by the Congregation of Propaganda as a result of the decree Sapienti Consilio. Gilley, Sheridan ‘The Years of Equipoise, 1892–1943’, in From without the Flaminian Gate: 150 Years of Catholicism in England and Wales. 1850–2000, ed. McClelland, Vincent A. and Hodgetts, Michael (London: Darton, Longman and Todd, 1999): 34Google Scholar.

⁴ Wiseman, Nicholas, Four Lectures on the Office and Ceremonies of Holy Week as performed in the Papal Chapel in Rome delivered in the Lent of 1837 (London: Charles Dolman, 1839)Google Scholar . A copy, signed by Wiseman himself, can be found in the ‘Cacus’ section of the Arundell Library at Stonyhurst College (no catalogue number).

⁵ Guidetti, John, Directorum Chori (Rome, 1582)Google Scholar . This appeared in various editions up to the mid-eighteenth century. The symbols used here are derived from the edition revised by Francis Pelichoari for King John V of Portugal. Exactly the same system was used in the Mechlin books of plainchant, beginning with the Gradual of 1851. For a detailed account of the development of this form of plainchant see Zon, Bennett, The English Plainchant Revival (London: Oxford University Press, 1999). Pages 13–22Google Scholar contain discussion of developments in the late sixteenth and seventeenth centuries. For a hostile account see Hayburn, Robert, Papal Legislation on Sacred Music 95AD to 1977AD (Collegeville, MN: The Liturgical Press, 1979): 33–65Google Scholar.

⁶ Berry, Mary, ‘The Performance of Plainsong in the Late Middle Ages’ (Cambridge University D Phil thesis, 1968): 14–56.Google Scholar

⁷ The Mechlin books, produced from 1851 onwards, were published by H. Dessain and P.F. De Voght. For a contemporary anonymous British account of the preparation of the Pustet books, see ‘Article IX – Plainchant’ by ‘Sacerdos’, Dublin Review 2 (1874): 172–204Google Scholar.

⁸ Hayburn, , Papal Legislation: 94–104.Google Scholar

⁹ Young, William, ed., The Catholic Choralist (Dublin/Penzance: The Choralist Office, 1842)Google Scholar ; Hemy, Henri, ed., The Crown of Jesus Music (London: –J. Richardson/Burns and Oates, 1863/N.d.).Google Scholar

¹⁰ Hemy, , The Crown of Jesus Music, Preface, n.p.Google Scholar

¹¹ Norman, , The English Catholic Church: 202–6Google Scholar (the growth of the Catholic church in England); 218–20 (the implications of Irish immigration); 222–30 (the role played by religious orders in implementing such policies).

¹² Olleson, Philip and Palmer, Fiona, ‘Publishing Music from the Fitzwilliam Museum, Cambridge: The work of Vincent Novello and Samuel Wesley in the 1820s’, Journal of the Royal Musical Association 130/1 (2005): esp. 53–61.Google Scholar

¹³ These are single works by Duarte Lupo, Orlando Lassus, Palestrina and Victoria.

¹⁴ Alfieri, Pietro, Raccolta di Musica Sacra, 7 vols (Rome, 1841–1848)Google Scholar . Oscott’s copy (one of the very few known to be still in existence) was shown to me by Fr Peter Jones.

¹⁵ The Ecclesiastical Choir Book: Selections from the Great Masters of the Sixteenth Century (London: James Burns, 1848).Google Scholar

¹⁶ For an example of such Plainchant publications see Easy Music for Church Choirs (London: Burns and Lambert, 2 vols, 1853 and 1854)Google Scholar . For a list of Lambert’s other publications, some produced before his association with Burns, see Zon, , The English Plainchant Revival: 202–3Google Scholar.

¹⁷ The Choir: Collection of Music Original and Select (London: Burns and Lambert, 2 vols, vol. 1, n.d.; vol. 2, 1852–1853Google Scholar . Both volumes had numerous subsections, which were sometimes published separately. Some of these were edited by John Richardson, choirmaster and organist at Liverpool Pro-Cathedral.

¹⁸ Cathedral Clergy, compilers, A History of St Chad's Cathedral, Birmingham, 1841–1904 (Birmingham: Cornish Brothers Ltd, 1904): 15–16Google Scholar , 124–6.

¹⁹ Robert Guy, arr. under the supervision of Cuthbert Hedley, bishop of Minevia, The Synods in English Being the Texts of the Four Councils in English Translated into English (Stratford on Avon, 1896) (ch. 7): 185–95Google Scholar . For a general survey of the history of the Cecilian movement in Germany and Austria, see Mager, Sybille, ‘“Music Becomes a Prayer”: The Movement for the Reform of Catholic Church Music in Late Nineteenth-century Germany and Austria’ (M.Phil thesis, University of Cambridge, 2000)Google Scholar.

²⁰ Haberl, Franz Xavier et al., eds, Palestrina's Werke (Leipzig: Breitkopf and Härtel, 1874–88, 1891, 1892 and 1907)Google Scholar ; Proske, Karl, Musica Divina Sive Concentuum Selectissima, 4 vols with numerous subsections (Ratisbon: Pustet, 1854, 1855, 1859, 1864)Google Scholar ; Ett, Caspar, ed., later revised by Hauber, J.M. and Witt, Franz Xavier, Cantica Sacra (Ratisbon: Pustet, 1869R)Google Scholar ; Haberl, Franz Xavier, ed., Orlando di Lasso's Werke. Magnum Opus Musicum Von Orlando de Lasso (Leipzig: Breitkopf and Härtel, 1894–1908)Google Scholar , 10 vols, subsequently expanded to 20 vols by 1930 (see Collins, Henry B.: ‘Ecclesiastical Polyphony’, Music and Liturgy 2/2 (April 1931): 28)Google Scholar.

²¹ Mager, Sibylle, ‘The Debate over the Revival of Ancient Church Music in Victorian England’ (PhD thesis, University of Cambridge, 2000): 329, 331, 334–5.Google Scholar

²² References to music copied from both occur in manuscript organ and part books surviving in the organ loft at St Cuthbert's Church, Durham. Fr Peter Jones also showed me copies from the library at Oscott. For further details see Daly, Kieran Anthony, Catholic Church Music in Ireland 1878–1903: The Cecilian Reform Movement (Dublin: Four Courts Press, 1995): esp. 15–16Google Scholar , 22–35, 44–5, 107, 117–18 and 164. See also Hayburn, , Papal Legislation: 115Google Scholar.

²³ The Benedictines of Stanbrook [Laurentia McLachlan] , Grammar of Plainsong (Worcester: Stanbrook Abbey/London: Burns and Oates Ltd/Art and Book Co. New York/Cincinnati, OH: Benziger Bros, 1905)Google Scholar . In two parts. The second and third revised editions were published in 1926 and 1934, the latter at Liverpool and Islington by Rushworth and Dreaper.

²⁴ See, for example, Smith, Joseph, Mass (in D) (London: J. Curwen and Sons Ltd n.d.)Google Scholar ; and Seymour, Joseph, Mass in A b (London: Cary n.d.),Google ScholarMass of St Brigid Opus 3 (London: Cary and Co., n.d.),Google ScholarMass of the Holy Trinity (London: J. Curwen and Son., n.d.),Google Scholar and his Mass ‘Adeste Fideles’ (Ratisbon: F. Pustet, 1896)Google Scholar . I have found copies at Ushaw, and they have also been found in the Talbot Library, Preston (from St Augustine's and St Gregory's churches in Preston).

²⁵ Anon., The Tablet 72 (3 Dec. 1904): 911.

²⁶ See the programme of music listed in a letter, dated 28 Sep. 1929, by his nephew Canon Joseph F. Turner, his successor at Upholland, to Laurentia McLachlan at Stanbrook Abbey. Stanbrook Abbey archives, box D.L. McL to Allen/Holland, Edeson, Turner.

²⁷ For details of Ushaw's repertoire, see Clifford, C.G.: ‘The Choir’, Ushaw Magazine 45 (Jul. 1935): 112–16Google Scholar.

²⁸ Newsham, Charles, ed., revised and expanded by Richardson, John, A Collection of Music Suitable for the Rite of Benediction (London: Burns and Lambert n.d.).Google Scholar The works by Ett, Allegri and Palestrina are placed in the appendix at the end, so they may have been added by Richardson. On the other hand, manuscript copies of the same works can be found in an organ book dating from the late 1850s from St Augustine's church, Preston signed by Roger Taylor, who was trained at Ushaw. Currently, this is stored in the Talbot Library, Preston (no catalogue number). This volume contains other music directly copied from Newsham and Richardson's manual.

²⁹ These include works by Haller, Mitterer, Molitor, Perosi, Quadflieg, Ravanello, Seymour, Singenberger, Smith, Wiltenberger and Witt. There are also genuine Renaissance polyphonic works by Anerio, Byrd and Victoria, along with some items by Casciolini.

³⁰ For further details of these French developments see Haskell, Harry, The Early Music Revival: A History (London: Thames and Hudson, 1988): 145–50Google Scholar.

³¹ Andrews, Hilda, Westminster Retrospect: A Memoir of Sir Richard Terry (London: Oxford University Press, 1948): 1–19.Google Scholar

³² Ibid.: 33–54.

³³ Ibid.: 40 and 49.

³⁴ Terry, Richard, English Catholic Music (London: Greening and Co., 1907): 59, 178–9, 183 and 192.Google Scholar

³⁵ Gasquet, Aidan, Henry VIII and the English Monasteries: An attempt to illustrate the history of their suppression (London: John Hodges, 1889), 2 vols: 519–21.Google Scholar

³⁶ Terry, , English Catholic Music: 196Google Scholar . He then uses the same form of argument with Tye's ‘I will exalt’ and Redford's ‘Rejoice in the Lord’.

³⁷ Ibid.: 196.

³⁸ For an account of this movement, see Aidan Bellenger, ‘The English Benedictines: the Search for a Monastic Identity’, in Monastic Studies: The Continuity of Tradition, ed. Loades, Judith (Bangor: Headstart History, 1990): 299–325Google Scholar.

³⁹ For a detailed account of this see The Benedictines of Stanbrook [Felicitas Corrigan], In a Great Tradition: Tribute to Dame Laurentia McLachlan, Abbess of Stanbrook (London: John Murray, 1956): 114–51Google Scholar.

⁴⁰ The Benedictines of Stanbrook [Laurentia McLachlan], Gregorian Music: An Outline of Musical Paleography Illustrated by Facsimiles from Ancient Manuscripts (London and Leamington: Art and Book Company, 1897)Google Scholar.

⁴¹ See, for example, his edition of the Benedictine Hymnale (English Benedictine Community n.p., 1905)Google Scholar , which drew substantially on Walter H. Frere's Plainsong Hymn Melodies and Sequences as well as incorporating material supplied by McLachlan from the Worcester Antiphoner and Bosworth Psalter. These details come from a letter, dated 3 August 1959, by Dame Felicitas Corrigan of Stanbrook Abbey to Abbot Byrne of Ampleforth in the course of preparations for the publication of the Stanbrook Hymnale of 1963. Stanbrook Abbey Archives, box marked ‘Stanbrook Hymnale 1963’. For an account of Shebbeare's use of Sarum chant at Downside Abbey, see Almond, Leo T., ‘The Opening of the new Choir’, Downside Review 24 (1905): 254–65CrossRefGoogle Scholar.

⁴² Terry's relationship with Vaughan is briefly discussed by Andrews, Westminster Retrospect: xii, 41 and 50. For the more general background, see Kollar, Rene, Westminster Cathedral: from Dream to Reality (Edinburgh: Faith and Life Publications, 1987): 49–120Google Scholar.

⁴³ Doyle, Peter, Westminster Cathedral: 1895–1995 (London: Geoffrey Chapman, 1995): 51–69 andGoogle ScholarAndrews, , Westminster Retrospect: 55–91 and 99–145Google Scholar.

⁴⁴ Edward Hutton, Obituary letter to the Tablet 171 (Jan.–Jun. 1938): 579.

⁴⁵ Andrews estimated that ten of Palestrina's Masses were being sung in the 1900s, Westminster Retrospect: 83–8.

⁴⁶ Ibid.: 89, 104–07.

⁴⁷ For an English translation see Terry, Richard, Music of the Roman Rite (London: Burns Oates and Washbourne, 1931): 253–63Google Scholar , esp. clauses 3 (supremacy of plainchant), 4 (value of Renaissance polyphony), 6 (attacks on modern secular music) and 15–21 (use of the organ and other instruments).

⁴⁸ Ibid., clause 24.

⁴⁹ See, for example, Norris's letters of 6 and 13 December 1904 to Casartelli in the Salford Diocesan Archives: Box 193, folder marked ‘Church Music 1903–5’. A typed letter in the same file by Charles Gatty, editor of Arundel Hymns, dated 10 October 1903 to Norris suggests that Terry and Parkinson were recruited at his suggestion. Allen's detailed involvement as secretary is revealed by an undated preliminary draft list in his own hand, again in the same file.

⁵⁰ For the evidence see Casartelli's correspondence in the Salford Archives Box 193, folder marked ‘Church Music 1903–5’.

⁵¹ Data has been obtained from the monthly programmes given in the Farm St Journal, copies of which can be found in the library at Farm Street.

⁵² Cuthbert Cary Elwes supplies the complete list of works performed in Letters and Notices, 54 (1938): 195–6Google Scholar . This is the in-house journal of the English Society of Jesus.

⁵³ Detailed programmes are given on a monthly basis during this period only in issues of the Bournemouth Catholic Record, vols 24, 25 and 26, copies of which survive in the library at Farm Street, London.

⁵⁴ Copies of the magazine are stored in the Arundell Library at Stonyhurst College, Lancashire (no catalogue numbers). The relevant volumes are nos 12–20.

⁵⁵ Norris to Casartelli, dated 6 Dec. 1904. Salford Archives Box 193, folder marked ‘Church Music 1903–5’.

⁵⁶ See his article ‘Why is Church Music So Bad?’, in A Forgotten Psalter and Other Essays (London: Oxford University Press, 1929): 105–25, esp. 110–11Google Scholar.

⁵⁷ Robertson, Alec, Music of the Catholic Church (London: Burns and Oates (A Faith and Fact Book), 1961): 139.Google Scholar

⁵⁸ For example, at Wimbledon in 1938 only two clearly identifiable Cecilian works (both by Lorenzo Perosi) can be identified. At Farm Street in 1928 nine such works were performed (seven by Vincenz Goller, two by Joseph Smith and two by Edgar Tinell).

⁵⁹ For a statement of this thesis, see Cagin, Paul and Mocquereau, André, Plainchant and Solesmes (London: Burns and Oates n.d.Google Scholar , but almost certainly 1904 due to internal evidence).

⁶⁰ For an example of a Solesmes-inspired textbook for the accompaniment of plainchant incorporating these principles that was used in England (there is a copy in the Talbot Library, Preston) see Meroux, P., Nouvelle méthode pratique, simple et compléte pour apprendre rapidement à accompagner le plain-chant Grégorien suivant les lois de l’harmonie, de la tonalité et du rythme (Paris, Tournai, Rome: Desclée et Cie, 1925)Google Scholar . The theory is discussed extensively in correspondence between McLachlan and Bewerunge in the Stanbrook Abbey archives, boxes W1914 and W1219, especially in Bewerunge's letters dated 11 January 1917 and 3 December 1917. For actual examples of this method see Allen, Herbert P., ed., Accompaniments to ‘Plainsong for Schools’ (Liverpool: Rushworth and Dreaper, 1930)Google Scholar ; Potiron, Henri, ed., Gradual Paroissial contenant l'accompagnement du chant Grégorien les messes des dimanches et principales fêtes (Paris, Tournai, Rome: Desclée et Cie, 1933)Google Scholar . Copies of this and other similar volumes by Potiron can be found in many Catholic collections across the country (e.g. Downside Abbey, the Talbot Library, Preston, and in the Manchester archives of the Faithful Companions of Jesus). See also Matthias, Francis X., Organum Comitans ad Kyriale seu Ordinarium Missae (Ratisbon, Rome, New York, Cincinnati, OH: Pustet, 1910). This was used at Stanbrook AbbeyGoogle Scholar.

⁶¹ Andrews, , Westminster Retrospect: 34, footnote 1.Google Scholar

⁶² For example, copies of his four masses survive at Stonyhurst College, Lancs, at St Mary's church, Burnley, and in music from St Augustine's and St Gregory's churches, Preston, currently stored in the Talbot Library there.

⁶³ Popular items were Hummel's Mass in D Minor, Silas's Mass in C, and Gounod's Messe du Sacre Coeur, Messe des Pâcques and Troisieme Messe Solonnelle. Stonyhurst's repertoire is listed in the ‘Music Notes’ or ‘Choir Notes’ regularly published in issues of the Stonyhurst Magazine between 1904 and 1938 (vols 11–24). At Farm Street in 1928 the repertoire also included music by Charpentier, Dvórak, Rameau, Spohr and Schubert (Mass in Bb).

⁶⁴ Terry, Richard, ed., Van Bree: Second Mass (London: Cary and Co. No. 815, 1905)Google Scholar ; Oberhoffer, Heinrich, ed., Mass, Opus 91 (London: Cary and Co. No. 760, n.d.)Google Scholar . An earlier undated edition was published by Alphonse Cary, founder of the firm.

⁶⁵ John Paul II: Chirograph for the Centenary of the Motu Proprio ‘Tra le Sollectudini’ on Sacred Music, www.vatican.va/holy_father//john_paul_ii/letters/wo3/documents/h_jp_ii_let2

⁶⁶ Benedictines of Stanbrook [Felicitas Corrigan], In a Great Tradition: 55 ; Champ, Judith, Oscott College Chapel: A Temple of Living Stones (Oscott: St Mary's College, 2002): 47Google Scholar.

⁶⁷ Clergy, Cathedral, A History of St Chad's Cathedral, Birmingham: 124–8.Google Scholar

⁶⁸ For a detailed account of English Catholic liturgical and musical developments in the early and mid-twentieth century, written from the standpoint of the development of congregational participation, see Crichton, James, Winstone, Harold and Ainslie, John, eds, English Catholic Worship: Liturgical Renewal in England since 1900 (London: Geoffrey Chapman, 1979)Google Scholar.

⁶⁹ Pius XI: ‘Apostolic Constitution on the liturgy and on fostering Gregorian chant and music’ [Divini Cultus], in Terry, , Music of the Roman Rite: 285–93Google Scholar ; Stacpoole, Alberic, ‘Fr Bernard McElligott: II: The liturgical years’, Ampleforth Journal 77/2 (1972): 86–97Google Scholar.

⁷⁰ [Willson, Dominic, ed.], Plainsong for Schools (in two parts) (Liverpool: Rushworth and Dreaper, 1930 and 1934).Google Scholar

⁷¹ Benz, Johann, Cantica Sacra, or Gregorian Music (London, Derby and Dublin: T. Richardson and Son/J.A. Novello, 1845/R1849)Google Scholar ; Lisle, Ambrose Phillips de, The Little Gradual, or Choralist's Companion (London: James Toovey, 1847)Google Scholar ; Zon, , The English Plainchant Revival: 193–8Google Scholar.

⁷² Howell, Clifford, trans., An Instruction by the Sacred Congregation of Rites on Sacred Music and Liturgy in the Spirit of the Encyclical Letters ‘Musicae Sacrae Disciplina’ and ‘Mediator Dei’ of Pope Pius XII. London. Herder Publications Ltd, 1959: esp. clauses 16b, 22b, 25, 31 and 93.Google Scholar

⁷³ This tendency continued to be encouraged in Papal documents. See, for example, clause 23(a) in An Instruction by the Sacred Congregation of Rites: ‘participation must, above all, be internal’ [italics in original text]. For a useful introduction to English Catholic liturgical books and worship during Recusant times, in the late eighteenth and in the early nineteenth centuries, see Crichton, James, Worship in a Hidden Church (Blackrock: The Colomba Press, 1988)Google Scholar . Crichton's purpose here is to show that a vernacular, and even elements of a congregational, tradition of worship, developed among English Catholics in the eighteenth and early nineteenth centuries. However, his detailed description of primers and manuals, to say nothing of the contents of Bishop Challoner's Garden of Soul, which was still being published in revised form during the early twentieth century, shows that usually personal prayers, paraphrases or commentaries were substituted for the actual text of the mass and other services. See, in particular, pages 30–46 and 76–7.

⁷⁴ Similar phenomena can be found at Upholland College in the late 1930s and at St Mary's, Poplar (in London). In 1932 the latter establishment congratulated itself on providing a programme consisting only of plainchant and Renaissance polyphonic music at Pentecost and on the second Sunday after Pentecost. The only exception was an arrangement by Terry of the Welsh hymn tune ‘Dwyfer’ for a rendition of ‘Tantum Ergo’. Anon, ‘Our Members’ Activities’, Music and Liturgy (the magazine of the Society of St Gregory) 3/3 (Jul. 1932): 68Google Scholar.