We have always been primarily oriented towards discovering and analyzing the output of composers who have modified musical style and goals over the centuries. Most often, we pay no attention to other realities that are not tangentially musical, and consequently we miss out on situations that might help us understand more fully to what extent music has entered our veins. And this is the case with Saint Giovanni Bosco, who dedicated much of his existence to singing and musical education, activities that he promoted tangibly and practiced personally.
While Don Bosco was not a militant musician and hence was not interested in the musical event with purely artistic and esthetic purposes, he sought to find in music the pedagogical validity and efficacy of song and the creation of sound. And in this case we find the detailed response of the multifaceted role that he gave to musical knowledge by developing liturgical song, popular song, and Gregorian chant, while not neglecting band music, stage plays, the founding of music schools and scholae cantorum. In short, a plethora of activities that let us understand how much he was into music. There are two documents that prove this and that shed light on a little-known aspect of Don Bosco. They are chronologically distant from one another, but they have in common an unusual 360-degree conception of music, going beyond the purely liturgical aspect of music that is an integral part of the preparation for the priesthood. The first document involves an excerpt taken from the writings of Giovanni Battista Lemoyne, Don Bosco’s first biographer: “He knew how to play the piano and the organ moderately well; he had thoroughly studied some of the best-known methods of playing and singing, and his voice lent itself to any part, rising harmoniously to the second do of the second octave” (Biographical Memoires, p. 129). The second document is found in the review Salesianum, n. 1, January-March 1988, written by Armando Cuva; here we find two important passages that demonstrate his unique attention to choral music, understood as the whole-hearted participation of the people: “…and finally a nod towards the fourth method of participation in the Mass, consisting of execution in song of the parts of the schola and of the people, and of listening to the other formulas. This properly liturgical method also attracted the attention of Don Bosco, who always showed his sympathy for celebrations in song, especially in great solemnity…Don Bosco also reserved special attention for liturgical song, in particular Gregorian chant. He deemed song a major factor for the success of the celebrations. He saw to its proper execution even in order to attract the faithful to the celebrations, and as we have already alluded to, in order to prepare his youths to offer their services as singers once they returned to their parishes.” This analysis produces a heretofore almost unheard-of portrait of Don Bosco, but it lacks a significant element involving the didactic part. Did he teach music to young people? The answer is positive and derives directly from the saint, who described in his own words a typical day: “On holy days, I had to start confessions bright and early, then singing school, and literature until noon. At one, afternoon recreation, then catechism, vespers, instruction, benediction, recreation, singing and school until nightfall. On weekdays…the evening of French, arithmetic, vocal music, piano and organ…. I don’t know how I managed. God helped me.” He was thus able to mold the musical tastes of his “rascals” by guiding them towards the world of classical sounds, having them sing and play. All this intense activity necessarily involved a desire to broaden his contact with music by founding rigorous music schools involved in professional training. He founded two schools, one called the “free evening schools of the Oratorio of San Francesco from Sales” (1859-1860), and the other a “School of business and music placed under the patronage of St. Cecilia” (1875). Don Bosco understood that the professional study of music offered young people the possibility of profitable work, and it was no accident that in the presentation notes he wrote: “…to achieve a useful uplifting and a future means of special resources for young artists who distinguished themselves by their good conduct and diligence.” Even in his rules Don Bosco’s great respect for music comes through clearly: “…Musicians in service shall wear the uniform beret; the Maestro and the Director shall wear it with the trimmings appropriate to their rank… On the occasion of the Artisan Awards, there will also be awards for those musicians who most distinguished themselves by their conduct and study… when a youth is accepted, he must read in the presence of his companions and sign a special acceptance form. The director shall promptly assign to him a Young Maestro, i.e., a more advanced student in music… Each one shall keep his instrument always polished; if repairs are needed, he shall promptly advise the Director of same; damage caused by the musician shall be charged to him… The Director shall keep an inventory of the instruments and note who uses them. Instruments and music books may never be taken outside or lent to persons outside the Oratorio without the Director’s express authorization.” His conception was that learning music meant following the academic rules by looking to the past and studying the styles and traditions of classical composers. He listened with interest to the music of Beethoven, approaching the symphonies and the world of the sacred that he found to be intense and like a profound inner prayer. The most tangible result of his lessons was to have molded the musical education of Saint Domenico Savio, who became his soloist. This circumstance provided the opportunity for Pius XII’s decree in 1956 proclaiming Domenico Savio “celestial patron of the Pueri cantores.” This was the greatest recognition of Don Bosco’s musical activity, certified by the Pope himself. It is no accident that he was called the “Guide” of the singing of “the Lord’s praises.”Here is an excerpt from the Pontifical Decree: “…The presidents of the Pueri Cantores, from 26 nations, gathered together in a recent assembly, submitted to us their supplication that we proclaim S. Domenico Savio, who, under the guidance of St. Giovani Bosco, sang with fervid love the Lord’s praises, as Celestial Patron of the Pueri Cantores. We have decided with glad heart to assent to this supplication, supported by the recommendation of our dear Son Maurizio Feltin, cardinal and archbishop of Paris, We who have elevated to the honors of the Saints this boy, full of melodiousness and lily-like candor, whose imitation we have proposed to all youth….” In short, in the figure of Saint Giovanni Bosco we find shining examples of pure music, beyond fashions and labels, where music was the absolute protagonist.