For Don Bosco, music played an important role in the education of youngsters. Already from the time he himself was a boy, he loved to sing. “Having a beautiful voice, John Roberto, the choir director of the parish, taught him to sing. In a short time John not only learned to sing Gregorian chant, but he also earned a place in the choir. He even started to practice the violin and tried his hand on an old spinet so as to be able to accompany the singing on the organ.” (EBM 1, 173)
When he became a priest in Turin, he served as the Oratory’s first music teacher training the boys gradually to sing in choirs that became reputed in the city. They were able to sing even popular songs that delighted their audiences.
When he opened the boarding he had his boys with him all the

time, so he started a school to train them to sing Gregorian

chant. In time he took his little choir members to perform their

repertoire in the churches of Turin and further afield.
He himself composed sacred music too, like the hymn to the

infant Jesus: “Ah, si canti in suon di giubilo…” Some of his

students also began to study music and among them was

Fr. John Cagliero who distinguished himself with his musical

compositions that earned the esteem and admiration of the

 well known musicians of the time.
In 1855 Don Bosco put together the first brass band of the

 Oratory. Nevertheless, good Don Bosco was not the first to do so! Already in the 1860’s he included a clause in the regulations of the evening school of music that stated:
“A formal commitment is to be made by every student of music that he will not sing or play in public theatres, nor at other feasts at which Religion or good morals may be compromised.” (cf MB VII 855)

The Boys’ Music
Once when he was in Marseilles, a priest who founded a festive Oratory wanted to know if Don Bosco approved of music as a means of attracting boys. Don Bosco listened patiently to his anxiety and then finally said: “An oratory without music is like a body without a soul!” (EBM V, 222)
Don Bosco knew enough French to make himself understood and he spoke and wrote it with an aplomb and an easy manner that blithely glossed over vocabulary and grammar. The story is still told about Father Mendre, curate and later parish priest of St. Joseph’s in Marseilles, who loved Don Bosco with tender filial affection. He was sitting beside Don Bosco during a performance at St. Leo’s Oratory one day. Ever so often the musicians would play a flat note or two. The French priest, who had an ear for music, winced each time, until, finally, Don Bosco whispered in his ear in his own inimitable manner and pronunciation: “Moussieur Mendre, the mousique de les enfants elle s’écoute avec the coeurs et non avec les oreilles” (Father Mendre, the music of children must be listened to with the heart, not with the ears). Time and time again Fr. Mendre would recount this advice with keenest pleasure, affectionately mimicking Don Bosco’s accent (cf EBM XV, 58, n.2).
However, all this did not mean that Don Bosco preferred music to discipline at the Oratory. He was always amenable but did not easily tolerate a lack of obedience among his boys. For some years he permitted the young band players to celebrate the feast of St. Cecilia by going to a designated place for a picnic and there having a picnic snack. But in 1859, because something untoward took place, he prohibited this liberty. The youngsters did not openly protest. Half of them however, instigated by a leader who promised that he would get permission from Don Bosco, decided to go out of the Oratory. At their own initiative they organized a lunch at a nearby café before the feast of St. Cecilia. Having made up their minds they thought that Don Bosco would know nothing of this. So, one day, towards the end of October, they gathered for lunch at the designated café nearby and after the lunch they wandered around the city. They returned to that café in the evening for dinner too. As it grew dark they returned to the Oratory at Valdocco. It was only Sig. Buzzetti (the lay brother at the gate) who noticed the late comers and informed Don Bosco of their disobedience. Very calmly he disbanded the group of band players, ordered Buzzetti collect all the instruments and lock them up awaiting the arrival of the new batch of students. The next morning he sent for each of the disobedient young musicians and regretted that he had to be severe with them. Then he sent for their parents or guardians, recommending that their place be taken by someone more deserving. Only one little ragamuffin was reaccepted because Don Rua had assured Don Bosco that the boy was unwittingly deceived by his companions, and Don Bosco kept him on trial for sometime!

To the Glory of God and Mary Help of Christians
Even with such sorrows there were immense consolations. June 9th 1868 was a memorable day in the life of Don Bosco and the history of the Congregation. The new church of Mary Help of Christians, that he built through much sacrifice was finally completed and was about to be consecrated. Those who were present for the festivities were deeply moved. An awestruck crowd admired the beautiful church of Don Bosco. The Archbishop of Turin, Mons. Riccardi performed the solemn rite of consecration. At the evening function the following day, during the solemn Vespers, the choir of Valdocco rendered the solemn antiphon Sancta Maria succurre miseris, composed by Fr. Cagliero. The congregation seemed electrified by it. Three mighty choirs performed it perfectly. Five hundred tenors and basses sang from the aisle near the altar of St. Joseph, two hundred sopranos and contraltos stood along the balcony beneath the cupola, a third choir composed of a hundred sang from the far end of the church where the orchestra was placed. The three choirs, connected by an electric device, were able to synchronize their singing with the Maestro who directed the choir very effectively. The biographer present at the function wrote:
“The harmony of all three choirs singing in unison cast a spell over the entire congregation. As the voices blended together, the listeners felt that they had been immersed into a sea of voices which rose from all directions. During the singing, Canon John Baptist Anfossi was kneeling behind the main altar with Don Bosco. As far as he could remember, he had never seen or heard Don Bosco stir or say anything while at prayer. On this occasion however, Don Bosco looked at him with moist eyes full of joy and whispered: “Dear Anfossi, doesn’t it feel like being in heaven?” (EBM IX, p. 128)