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(ARCHIVE) Vol. XXI No. 23, March 16-31, 2012
'Father' 'Mack' of San Thomé
by Simeon Mascarenhas*

Col. John Pennycuick. (Courtesy: Wikipedia.)

The Basilica of San Thomé was packed to capacity. A single bell tolled at widely spaced intervals, its voice muted and sombre. A large and solemn gathering of priests, led by the Archbishop the Rt. Rev. Monsignor F.A. Carvalho, Vicar-General of the Diocese of Madras-Mylapore, approached the high altar with all the stateliness and dignity that is synonymous with worship in the Roman Catholic Church. But this time the occasion was marked by sadness, albeit one that was tempered with the gratitude that a person feels for experiencing the astonishing talent of another who served God and fellowman through music.

"Requiem aeternam dona eis, Domine." Eternal rest grant unto them, O Lord, intoned the Archbishop, "et lux perpetua luceat ei." And let perpetual light shine upon them. And, so, with the familiar, centuries-old liturgy and Gregorian chant, began the funeral mass for an illustrious, yet humble, son of Madras. In the first four pews stood every member, including in-laws, of the large and close-knit family of Mascarenhas of San Thomé. In the remaining pews, in the aisles, at the doors and in the organ gallery people from every walk of life from the San Thomé parish, and others, who had for decades attended Mass at the Cathedral as much for the extremely high quality of the music as for personal worship, stood in respect, not quite grasping the loss to Church Music in the Diocese of Madras-Mylapore. William Alfred Mascarenhas, Cathedral Organist, was dead, after a career in music that had begun in 1876 when, at the age of ten, he received his first commission as church organist. He had also had a long career as an auditor in the Madras and Southern Mahratta (MSM) Railway.

To every member in the family, and to friends and neighbours, William was known respectfully as 'Father'. He was born on June 25, 1866, the eldest child of Joseph, a schoolmaster, and Emily Mascarenhas (nee Bantleman). At the age of 10, he began a long and illustrious career that ensured that Western Church Music in the Catholic Church at the time in Madras was the equal of that to be found anywhere. I can do no better than provide the highlights of the obituary believed to be written by G.C. d' Cruz, son-in-law of 'Father' and Headmaster of St Bede's Anglo-Indian High School, San Thomé, and published in The New Leader on October 22, 1948 ('Father' passed away on September 6, 1948):

'This history of the growth and development of Liturgical Music in Madras shows how important a part Mr. W.A. Mascarenhas had played in the reform of Church Music. His masterly command over the Organ, which he played with such consummate skill and accomplishment, merited the admiration and encomiums of several distinguished musicians. He was held in great respect and esteem by the clergy and the laity. He began his career as a boy organist at the age of 10 at the Church of the Purification, Royapetta, in 1876, under the instruction and guidance of the Rt. Rev. Mgr. E.M. Angelo. On joining St. Mary's High School, George Town, in 1884, he came under the inspiring influence of the Rev. Fr. A. J. M.Heijligers, the then Organist of St. Mary's Cathedral and Director of the Assumption Sodality. The beauty of the Gregorian Chant then made its appeal to Mr. Mascarenhas who began collaborating with the Rev. Father in his work of the reform of Church Music. As a member of the Cathedral Choir he soon took the lead in the rendering of the Gregorian Plain Chant and was thus of further assistance to the Rev. Father in his task of introducing the Gregorian Chant in St. Mary's Cathedral. The measure of his success as an Organist even at the early age of his career may be gauged by the fact that in 1886, after a brief period of two years, he was appointed Organist of the Assumption Sodality.

In 1898 Mr. Mascarenhas completed the six year music course provided by the Government of Madras by passing the Government Advanced Examination and winning a prize of Rs. 100 and a gold medal. The council of the then Madras School of Music stated in its report of 1895 that the requirements of this course provided for the education of a very sound musician, were fully equal to the requirements of the first examination for the Degree of Bachelor of Music in an English University, and called for a thorough practical knowledge of music. To pass a comprehensive test of this nature was eloquent testimony of a very special aptitude and ability and it was not surprising therefore that the help given by Mr. Mascarenhas was welcomed by Rev. Fr. Heijligers, whom he frequently assisted at many solemn and impressive services in the San Thomé Cathedral. Dr. Teixeira, in giving expression to his appreciation of Mr. Mas-carenhas' good work in the San Thomé Cathedral on the occasion of his Silver Jubilee as Organist, remarked that the outstanding features of that work had been the reform of Church Music. This, His Excellency said, was initiated into this country against overwhelming odds at St. Mary's Cathedral, Madras, in the early eighties of the last century by that renowned musician Rev. Fr. Heijligers. Fr. Heijligers' work had continued at Mylapore in the early nineties with Mr. Mascarenhas, his worthy disciple, collaborating, with the result that Church Music in the Diocese of Mylapore attained a degree of perfection, which was the admiration of all the Dioceses around, so much so that when in 1904 the late Pope Pius X issued his famous Motu Proprio with regard to the style of Church Music, Mylapore had little to change.

In 1904 His Excellency Dr. d'Castro, when he took charge of the Diocese of Mylapore, appointed Mr. Mascarenhas Organist of San Thome Cathedral. Since that date Mr. Mascarenhas enhanced the standard of Church Music in the Cathedral. Mr. Mascarenhas had to cope with the requirements of such unique occasions as the tercentenary of the establishment of the Mylapore Diocese, the Eucharistic Congress of 1912, the consecration of Dr. Teixeira in 1927, the Eucharistic Congress of 1937 and many other notable functions, all calling for special ability and concentrated effort. Mr. Mascarenhas always gave his best, in the matter of instruction and guidance, not only to the Cathedral Choir but to most of the Choirs in Madras and the suburbs and to many of the clergy and laity who sought his help. His nomination by the Madras University as a Member of the Board of Studies in Western Music in September 1929 was a welcome and fitting recognition of his abilities as a musician.'

* * *

In 1983 I was called upon to be organist at the San Thomé Cathedral for a special Mass that would be attended by nearly 1000 people. The prospect was as daunting as it was exciting, given the Mascarenhas reputation that preceded me. "So you are the grandson of the great organist?" was the question I heard at every turn. It was impossible to miss the reverence, not to mention the curious anticipation, in the approach, and I was on tenterhooks. A lot of practice was essential for me to live up to expectations, so I did just that over many days. Just playing the notes right is not enough on an organ: each instrument is quite individual, and the organist must choose appropriate registration, i.e. the combination of stops, or sounds, appropriate to the music, liturgy and the number of singers. Composers do not always specify what registration to use. The sounds achieved in practice in a empty church are quite different from the effect in one packed with people. My great-grandfather must have been at hand, for I managed to achieve the registration that did justice to the liturgy and the music.

Among the music in the storage cupboards in the gallery I came across full choral scores of major works in Latin, English and Portuguese that would challenge the most able choir. Here was clear indication of the high standard of music performed at that time. Some of 'Father's' adult children were members of the Cathedral Choir, and practice time at the family home, Maclodge, No. 3 Sullivan Street, San Thomé, was a treat for all passing by in the street. Readers should be informed that a San Thomé Mascarenhas is informally referred to as a "Mack".

The bellows of the organ in the San Thomé Basilica were not powered by an electric motor; they had to be pumped by hand. As a boy, my father Donald had often pumped for his grandfather. This job was now the responsibility of a quiet old man, tired and gentle. On the day of the Mass, however, I wished my debut at that organ in the Cathedral to be a complete Mascarenhas effort. As a result, my father and my brothers Paul and Peter were my assistants, taking turns at pumping the bellows.

The old man was there, too, and he, quite naturally, was to be allowed to begin. But what was truly overwhelming was what happened when his tired, rheumy old eyes fell upon my father. He gazed upon his face for a minute or two, then said softly, "Donny Bhavva?" It was quite overwhelming. It had been many, many years since my father had been at that handle, but a young boy who had worked faithfully for 'Father' had remembered a favourite Mascarenhas grandson, probably very close to him in age.

At the reception in the community hall across the road after Mass, someone came to me saying excitedly, "The Archbishop wants to see you!" I duly answered the summons and went to His Grace Archbishop Arulappa, who congratulated me on my playing and asked the inevitable question: "So you are the grandson of Organist Mascarenhas?" I politely corrected the relationship and added that I could never hope to equal 'Father'. "He taught me music," said His Grace. "He taught us all music! He was the finest musician I have ever known. I am very pleased to see that the talent has not disappeared. You are fortunate to have inherited it." Indeed I am. 'Father's' reputation is at once a challenge and my greatest inspiration.

* * *

What sort of person was 'Father'? I have interviewed many people, now long dead, who knew or were associated with my great-grandfather William. The unanimous assertion was that he was kind, gentle and God-fearing, a gentleman in every sense, who was devoted to his wife and family. On June 28, 1942, his beloved wife Jane (nee Pereira), whom he had married on January 29, 1896, died. Father's interest in life now waned, as did his eyesight. But advancing blindness did not in any way diminish his mastery over the organ or the piano. Once he had been led to either instrument, his fingers and feet automatically did what they had been made to do: make those instruments sing. The loss of his son Vivian, my grandfather, in 1947 at the age of 47 due to medical misadventure was a severe blow not only to him but to the whole family. Never once did he wonder why, after so many years of service to God, he had had to endure this crushing and inexplicable loss. His faith intact, he continued playing music until he died the following year at the age of eightyone.

Every son and daughter of William and Jane Mascarenhas possessed two photographs: a family portrait of three generations and one of 'Father' at the organ of the San Thomé Cathedral. Both are reproduced here.


*The author is a lyric tenor with a successful career as a performer. He is currently cantor at three churches in Melbourne and appears regularly in recitals performing mainly lieder and art song.

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In this issue

Further Metrorail threats to heritage buildings
Will the Cell-to-be be better than the Committee?
Pennycuick's marvel...
... the Mullaperiyar Dam
The class of '55 meets
San Thomé's 'Father' 'Mack'
Why renovate a building that should not be where it is?

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