[290]SULLIVAN.The great popularity which Arthur Seymour Sullivan has enjoyed for a few years past, growing out of his extraordinarily successful series of comic operettas, beginning with "The Sorcerer" (1877), which first caught the public fancy, and ending with "The Mikado" (1885), has almost overshadowed the permanent foundations upon which his reputation must rest; namely, his serious and sacred music. He was born in London, May 13, 1842. His father, a band-master and clarinet-player of distinction, intrusted his musical education at first to the Rev. Thomas Hilmore, master of the children of the Chapel Royal. He entered the Chapel in 1854 and remained there three years, and also studied in the Royal Academy of Music under Goss and Sterndale Bennett during this period, leaving the latter institution in 1858, in which year he went to Leipsic. He remained in the Conservatory there until 1861, when he returned to London and introduced himself to its musical public with his music to Shakspeare's "Tempest," which made a great success. The enthusiasm with which this was received and the favors he gained at the hands[291]of Chorley, at that time musical critic of the "Athenæum," gave him a secure footing. The cantata "Kenilworth," written for the Birmingham Festival, the music to the ballet "L'Île enchantée," and an opera, "The Sapphire Necklace," were produced in 1864. In 1866 appeared his first symphony, which has been played not only in England, but also in Germany, and an overture, "In Memoriam,"--a tribute to his father, who died that year. The next year his overture "Marmion" was first performed. In 1869 he wrote his first oratorio, "The Prodigal Son," in 1873 "The Light of the World," and in 1880 "The Martyr of Antioch;" the first for the Worcester, the second for the Birmingham, and the third for the Leeds festivals. The beautiful "Overture di Ballo," so frequently played in this country by the Thomas orchestra, was written for Birmingham in 1870, and the next year appeared his brilliant cantata "On Shore and Sea." On the 11th of May, 1867, was first heard in public his little comic operetta "Cox and Box." It was the first in that series of extraordinary successes, really dating from "The Sorcerer," which are almost without parallel in the operatic world, and which have made his name and that of his collaborator, Gilbert, household words. He has done much for sacred as well as for secular music. In addition to his oratorios he has written numerous anthems, forty-seven hymn-tunes, two Te Deums, several carols, part-songs, and choruses, and in 1872 edited the collection of "Church Hymns with Tunes" for the Christian Knowledge Society.[292]He received the honorary degree of Doctor of Music from Cambridge in 1876, and from Oxford in 1879, and in 1883 was knighted by the Queen.
The great popularity which Arthur Seymour Sullivan has enjoyed for a few years past, growing out of his extraordinarily successful series of comic operettas, beginning with "The Sorcerer" (1877), which first caught the public fancy, and ending with "The Mikado" (1885), has almost overshadowed the permanent foundations upon which his reputation must rest; namely, his serious and sacred music. He was born in London, May 13, 1842. His father, a band-master and clarinet-player of distinction, intrusted his musical education at first to the Rev. Thomas Hilmore, master of the children of the Chapel Royal. He entered the Chapel in 1854 and remained there three years, and also studied in the Royal Academy of Music under Goss and Sterndale Bennett during this period, leaving the latter institution in 1858, in which year he went to Leipsic. He remained in the Conservatory there until 1861, when he returned to London and introduced himself to its musical public with his music to Shakspeare's "Tempest," which made a great success. The enthusiasm with which this was received and the favors he gained at the hands[291]of Chorley, at that time musical critic of the "Athenæum," gave him a secure footing. The cantata "Kenilworth," written for the Birmingham Festival, the music to the ballet "L'Île enchantée," and an opera, "The Sapphire Necklace," were produced in 1864. In 1866 appeared his first symphony, which has been played not only in England, but also in Germany, and an overture, "In Memoriam,"--a tribute to his father, who died that year. The next year his overture "Marmion" was first performed. In 1869 he wrote his first oratorio, "The Prodigal Son," in 1873 "The Light of the World," and in 1880 "The Martyr of Antioch;" the first for the Worcester, the second for the Birmingham, and the third for the Leeds festivals. The beautiful "Overture di Ballo," so frequently played in this country by the Thomas orchestra, was written for Birmingham in 1870, and the next year appeared his brilliant cantata "On Shore and Sea." On the 11th of May, 1867, was first heard in public his little comic operetta "Cox and Box." It was the first in that series of extraordinary successes, really dating from "The Sorcerer," which are almost without parallel in the operatic world, and which have made his name and that of his collaborator, Gilbert, household words. He has done much for sacred as well as for secular music. In addition to his oratorios he has written numerous anthems, forty-seven hymn-tunes, two Te Deums, several carols, part-songs, and choruses, and in 1872 edited the collection of "Church Hymns with Tunes" for the Christian Knowledge Society.
He received the honorary degree of Doctor of Music from Cambridge in 1876, and from Oxford in 1879, and in 1883 was knighted by the Queen.
The Prodigal Son."The Prodigal Son," the first of Sullivan's oratorios, was written for the Worcester Festival in England, and performed for the first time Sept. 8, 1869. It is a short work, comprising but eighteen numbers, and very melodious in character. In his preface to the work the composer says,--"It is a remarkable fact that the parable of the Prodigal Son should never before have been chosen as the text of a sacred musical composition. The story is so natural and pathetic, and forms so complete a whole; its lesson is so thoroughly Christian; the characters, though few, are so perfectly contrasted; and the opportunity for the employment of local color is so obvious,--that it is indeed astonishing to find the subject so long overlooked."The only drawback is the shortness of the narrative, and the consequent necessity for filling it out with material drawn from elsewhere. In the present case this has been done as sparingly as possible, and entirely from the Scriptures. In so doing, the Prodigal himself has been conceived, not as of a naturally brutish and depraved disposition,--a view taken by many commentators, with apparently little knowledge of human nature, and no recollection of their own youthful impulses,--but rather as a buoyant, restless youth, tired of the monotony of home, and anxious to see what lay[293]beyond the narrow confines of his father's farm, going forth in the confidence of his own simplicity and ardor, and led gradually away into follies and sins which at the outset would have been as distasteful as they were strange to him. The episode with which the parable concludes has no dramatic connection with the former and principal portion, and has therefore not been treated."In reality there are but six of the eighteen numbers concerned with the narration of the parable. The remainder moralize upon the story and illustrate its teaching. After a short, simple orchestral prelude, an opening chorus, beginning with soprano solo ("There is Joy in the Presence of the Angels of God"), and containing also alto and bass solos, gives the key to the whole work in reflective style, as it proclaims the rejoicing in heaven over the "one sinner that repenteth." At its conclusion the parable begins with tenor recitative and solo, "A certain man had two sons," in which the Prodigal asks for his portion of goods. In a bass aria preceded by recitative, the father gives him good advice, "Honor the Lord," and presumably his portion also, as the soprano recites in the next number that "he took his journey into a far country, and there wasted his substance in riotous living." Thereupon follows a very melodious and vivacious chorus ("Let us eat and drink; to-morrow we die"), in which the tenor has an important part. The response to the bacchanal comes in the next number, a brief chorus beginning with the alto recitative,[294]"Woe unto them." One of the gems of the work, a pretty alto song, "Love not the World," intervenes at this point. At its conclusion the narrative is resumed.After an effective prelude by orchestra, the soprano recitative relates the famine and the experiences of the Prodigal among the swine, leading up to a pretty aria ("O that thou hadst hearkened"). The tenor follows with an expressive aria ("How many hired Servants of my Father's"). The narrative again halts to give place to a very taking chorus ("The Sacrifices of God"), after which we have the return and reconciliation ("And he arose and came to his Father"),--a very dramatic duet for tenor and bass, followed by the vigorous and exultant bass aria ("For this my Son was dead") of the father. The parable ends here; but the music goes on moralizing upon and illustrating the theme in four effective numbers,--the chorus, "O that Men would praise the Lord," which is the longest and best constructed in the work; the recitative and aria for tenor, "Come, ye Children;" the unaccompanied quartet, "The Lord is nigh;" and the final chorus, "Thou, O Lord, art our Father," closing with a Hallelujah in full, broad harmony.
"The Prodigal Son," the first of Sullivan's oratorios, was written for the Worcester Festival in England, and performed for the first time Sept. 8, 1869. It is a short work, comprising but eighteen numbers, and very melodious in character. In his preface to the work the composer says,--
"It is a remarkable fact that the parable of the Prodigal Son should never before have been chosen as the text of a sacred musical composition. The story is so natural and pathetic, and forms so complete a whole; its lesson is so thoroughly Christian; the characters, though few, are so perfectly contrasted; and the opportunity for the employment of local color is so obvious,--that it is indeed astonishing to find the subject so long overlooked."The only drawback is the shortness of the narrative, and the consequent necessity for filling it out with material drawn from elsewhere. In the present case this has been done as sparingly as possible, and entirely from the Scriptures. In so doing, the Prodigal himself has been conceived, not as of a naturally brutish and depraved disposition,--a view taken by many commentators, with apparently little knowledge of human nature, and no recollection of their own youthful impulses,--but rather as a buoyant, restless youth, tired of the monotony of home, and anxious to see what lay[293]beyond the narrow confines of his father's farm, going forth in the confidence of his own simplicity and ardor, and led gradually away into follies and sins which at the outset would have been as distasteful as they were strange to him. The episode with which the parable concludes has no dramatic connection with the former and principal portion, and has therefore not been treated."
"It is a remarkable fact that the parable of the Prodigal Son should never before have been chosen as the text of a sacred musical composition. The story is so natural and pathetic, and forms so complete a whole; its lesson is so thoroughly Christian; the characters, though few, are so perfectly contrasted; and the opportunity for the employment of local color is so obvious,--that it is indeed astonishing to find the subject so long overlooked.
"The only drawback is the shortness of the narrative, and the consequent necessity for filling it out with material drawn from elsewhere. In the present case this has been done as sparingly as possible, and entirely from the Scriptures. In so doing, the Prodigal himself has been conceived, not as of a naturally brutish and depraved disposition,--a view taken by many commentators, with apparently little knowledge of human nature, and no recollection of their own youthful impulses,--but rather as a buoyant, restless youth, tired of the monotony of home, and anxious to see what lay[293]beyond the narrow confines of his father's farm, going forth in the confidence of his own simplicity and ardor, and led gradually away into follies and sins which at the outset would have been as distasteful as they were strange to him. The episode with which the parable concludes has no dramatic connection with the former and principal portion, and has therefore not been treated."
In reality there are but six of the eighteen numbers concerned with the narration of the parable. The remainder moralize upon the story and illustrate its teaching. After a short, simple orchestral prelude, an opening chorus, beginning with soprano solo ("There is Joy in the Presence of the Angels of God"), and containing also alto and bass solos, gives the key to the whole work in reflective style, as it proclaims the rejoicing in heaven over the "one sinner that repenteth." At its conclusion the parable begins with tenor recitative and solo, "A certain man had two sons," in which the Prodigal asks for his portion of goods. In a bass aria preceded by recitative, the father gives him good advice, "Honor the Lord," and presumably his portion also, as the soprano recites in the next number that "he took his journey into a far country, and there wasted his substance in riotous living." Thereupon follows a very melodious and vivacious chorus ("Let us eat and drink; to-morrow we die"), in which the tenor has an important part. The response to the bacchanal comes in the next number, a brief chorus beginning with the alto recitative,[294]"Woe unto them." One of the gems of the work, a pretty alto song, "Love not the World," intervenes at this point. At its conclusion the narrative is resumed.
After an effective prelude by orchestra, the soprano recitative relates the famine and the experiences of the Prodigal among the swine, leading up to a pretty aria ("O that thou hadst hearkened"). The tenor follows with an expressive aria ("How many hired Servants of my Father's"). The narrative again halts to give place to a very taking chorus ("The Sacrifices of God"), after which we have the return and reconciliation ("And he arose and came to his Father"),--a very dramatic duet for tenor and bass, followed by the vigorous and exultant bass aria ("For this my Son was dead") of the father. The parable ends here; but the music goes on moralizing upon and illustrating the theme in four effective numbers,--the chorus, "O that Men would praise the Lord," which is the longest and best constructed in the work; the recitative and aria for tenor, "Come, ye Children;" the unaccompanied quartet, "The Lord is nigh;" and the final chorus, "Thou, O Lord, art our Father," closing with a Hallelujah in full, broad harmony.
The Light of the World.Sir Arthur Sullivan's second oratorio, "The Light of the World," is laid out upon a much larger scale in every way than "The Prodigal Son." It was[295]written for the Birmingham Festival of 1873, was given for the first time on the 27th of August. The purpose of the work, as the composer explains in his preface, is to set forth the human aspects of the life of our Lord upon earth, by the use of some of the actual incidents in his career which bear witness to his attributes as preacher, healer, and prophet. "To give it dramatic force," he says,--"The work has been laid out in scenes dealing respectively, in the first part with the nativity, preaching, healing, and prophesying of our Lord, ending with the triumphal entry into Jerusalem; and in the second part, with the utterances which, containing the avowal of himself as the Son of Man, excited to the utmost the wrath of his enemies, and led the rulers to conspire for his betrayal and death; the solemn recital by the chorus of his sufferings, and the belief in his final reward; the grief of Mary Magdalene at the sepulchre; and the consolation and triumph of the Disciples at the resurrection of their Lord and Master."The first part has four scenes, "Bethlehem," "Nazareth," "Lazarus" (which might more appropriately have been entitled "Bethany"), and "The Way to Jerusalem." The scenes of the second part are laid entirely in Jerusalem. "Bethlehem" includes the message of the angels to the shepherds, their visit to Mary, the nativity, the warning by the angel to Mary and Joseph of Herod's design, the lament and consolation of Rachel in Rama, and the promise of God's blessing upon the child. In "Nazareth" we have a scene representing Christ in[296]the synagogue reading from Isaiah and declaring himself the object of the prophecy, his expulsion by the incredulous crowd of listeners, and his exhortations to his disciples, when left alone with them, to bear their persecutions with meekness. "Lazarus" describes the journey to Bethany and our Lord's assurances to the bereaved sisters that their brother shall rise again. "The Way to Jerusalem" scene is indicated by its title,--the entry of the Lord into the city amid the hosannas and exultant acclamations of the people. In the second part, we have the discourse concerning the sheep and the goats, the interview between the ruler and the people, and the former's anger with Nicodemus, the sufferings and death of Christ, and the resurrection and joy of the disciples as they glorify God and sing the praises of their risen Master.The work opens with a prologue chorus ("There shall come forth a Rod out of the Stem of Jesse"), at the close of which the "Bethlehem" scene begins. It is preluded with a quiet but effective pastoral movement for the orchestra, a tenor recitative ("There were Shepherds abiding in the Field"), and a contralto solo announcing the heavenly message to the Shepherds, which lead up to a spirited "Gloria" by the sopranos and altos, followed by a chorus of the Shepherds ("Let us now go even unto Bethlehem") for male voices. A Shepherd, in brief recitative passages, declares to Mary, "Blessed art thou among Women," followed by the soprano solo, "My Soul doth magnify the Lord." After[297]the Virgin's expression of thanks, the Shepherds join in the chorus, "The whole Earth is at rest," which is peculiarly striking in its contrasts. A short recitative by the Angel, warning Mary to flee into Egypt, is followed by a very sombre chorus ("In Rama was there a Voice"). At its close, the tenor is heard in a tender aria ("Refrain thy Voice from weeping"), leading to a chorus full of spirited harmony, and rising to a very effective climax ("I will pour My Spirit"), which closes the scene.The "Nazareth" scene opens with a baritone solo ("The Spirit of the Lord is upon me"), in which Jesus declares himself in the synagogue as the object of the prophecy from Isaiah which he has been reading. The Jews answer in a very dramatic chorus ("Whence hath this Man his Wisdom?"). Again Jesus interposes with the declaration, "A prophet is not without honor save in his own country;" whereupon the people break out in a still more dramatic chorus ("Is not this Jesus?"), set to a very effective accompaniment. For the third time Jesus declares himself, followed by the stirring, furious chorus, "Why hear ye him?" A tender and at times fervid solo ("Lord, who hath believed our Report?") leads to a very effective quintet ("Doubtless Thou art our Father"). After another brief baritone solo ("Blessed are they"), we come to the chorus, "He maketh the Sun to rise," which is one of the most beautifully written in the work, and closes the scene.[298]The third scene, "Lazarus," begins with the description of the mournful journey to Bethany, the arrival among the kindred and friends, who are trying to comfort the bereaved sisters, and closes at the still unopened grave. It includes a duet between tenor and baritone, the former a Disciple, the latter Jesus, whose music is invariably sung by the baritone voice; a solo for alto ("Weep ye not for the Dead"), with a sombre orchestral prelude, and accompanied by a chorus in its close; a dialogue between Martha and Jesus ("Lord, if thou hadst been here"); a short but very beautiful chorus ("Behold how he loved him!"); the baritone solo, "Said I not unto thee;" and a final chorus of great power ("The Grave cannot praise thee").The last scene of the first part, "The Way to Jerusalem," is very brilliant throughout, and is in cheerful contrast with the general sombreness of the preceding numbers. It opens with a brief dialogue between Jesus and a Disciple ("Master, get thee out, and depart hence"), which leads to a charming three-part chorus for children's voices ("Hosanna to the Son of David"), with a prominent harp part in the accompaniment, and worked up to a fine climax. A brilliant soprano solo ("Tell ye the Daughter of Zion") intervenes, followed by a short dialogue between Jesus and a Pharisee, which leads to the vigorous chorus of the Disciples, "Blessed be the Kingdom." After another baritone solo ("If thou hadst known, O Jerusalem") the children's hosanna is repeated,--this time with[299]the power of the full chorus; and the first part comes to a close.The first part opens with a prelude of a few bars; but the second begins with a long overture, very effectively written, and intended, as the composer himself says, to indicate the angry feelings and dissensions caused by the Lord's presence in Jerusalem. At its close the baritone, in one of the most forcible solos assigned to this part ("When the Son of Man shall come in his Glory"), discourses the parable of the sheep and goats. The wondering chorus of the People, "Is not this he whom they seek to kill?" follows, and then ensues a somewhat tedious scene. A Ruler argues with the People, contemptuously asking if Christ shall come out of Galilee. The People remain unconvinced, however. Nicodemus then strives to reason with the Ruler, with the natural effect of making him very angry. All this leads up to an effective female chorus ("The Hour is come"). In a very tender and pathetic solo ("Daughters of Jerusalem") Jesus sings his farewell. The incidents of the crucifixion are avoided, as the work is intended only to illustrate the human career of Jesus. The rest of the story is told in narrative form; an unaccompanied quartet ("Yea, though I walk") and a powerful, but gloomy chorus, describing Christ's sufferings ("Men and Brethren"), bring us to the sepulchre. The scene opens with the plaint of Mary Magdalene, "Where have they laid him?" and the response of the Angel, who tells her Christ has risen, which is followed by a six-part[300]unaccompanied chorus ("The Lord is risen"). A short tenor solo ("If ye be risen with Christ") leads directly to the final chorus ("Him hath God exalted"), which is worked up in fugal form with much spirit.
Sir Arthur Sullivan's second oratorio, "The Light of the World," is laid out upon a much larger scale in every way than "The Prodigal Son." It was[295]written for the Birmingham Festival of 1873, was given for the first time on the 27th of August. The purpose of the work, as the composer explains in his preface, is to set forth the human aspects of the life of our Lord upon earth, by the use of some of the actual incidents in his career which bear witness to his attributes as preacher, healer, and prophet. "To give it dramatic force," he says,--
"The work has been laid out in scenes dealing respectively, in the first part with the nativity, preaching, healing, and prophesying of our Lord, ending with the triumphal entry into Jerusalem; and in the second part, with the utterances which, containing the avowal of himself as the Son of Man, excited to the utmost the wrath of his enemies, and led the rulers to conspire for his betrayal and death; the solemn recital by the chorus of his sufferings, and the belief in his final reward; the grief of Mary Magdalene at the sepulchre; and the consolation and triumph of the Disciples at the resurrection of their Lord and Master."
"The work has been laid out in scenes dealing respectively, in the first part with the nativity, preaching, healing, and prophesying of our Lord, ending with the triumphal entry into Jerusalem; and in the second part, with the utterances which, containing the avowal of himself as the Son of Man, excited to the utmost the wrath of his enemies, and led the rulers to conspire for his betrayal and death; the solemn recital by the chorus of his sufferings, and the belief in his final reward; the grief of Mary Magdalene at the sepulchre; and the consolation and triumph of the Disciples at the resurrection of their Lord and Master."
The first part has four scenes, "Bethlehem," "Nazareth," "Lazarus" (which might more appropriately have been entitled "Bethany"), and "The Way to Jerusalem." The scenes of the second part are laid entirely in Jerusalem. "Bethlehem" includes the message of the angels to the shepherds, their visit to Mary, the nativity, the warning by the angel to Mary and Joseph of Herod's design, the lament and consolation of Rachel in Rama, and the promise of God's blessing upon the child. In "Nazareth" we have a scene representing Christ in[296]the synagogue reading from Isaiah and declaring himself the object of the prophecy, his expulsion by the incredulous crowd of listeners, and his exhortations to his disciples, when left alone with them, to bear their persecutions with meekness. "Lazarus" describes the journey to Bethany and our Lord's assurances to the bereaved sisters that their brother shall rise again. "The Way to Jerusalem" scene is indicated by its title,--the entry of the Lord into the city amid the hosannas and exultant acclamations of the people. In the second part, we have the discourse concerning the sheep and the goats, the interview between the ruler and the people, and the former's anger with Nicodemus, the sufferings and death of Christ, and the resurrection and joy of the disciples as they glorify God and sing the praises of their risen Master.
The work opens with a prologue chorus ("There shall come forth a Rod out of the Stem of Jesse"), at the close of which the "Bethlehem" scene begins. It is preluded with a quiet but effective pastoral movement for the orchestra, a tenor recitative ("There were Shepherds abiding in the Field"), and a contralto solo announcing the heavenly message to the Shepherds, which lead up to a spirited "Gloria" by the sopranos and altos, followed by a chorus of the Shepherds ("Let us now go even unto Bethlehem") for male voices. A Shepherd, in brief recitative passages, declares to Mary, "Blessed art thou among Women," followed by the soprano solo, "My Soul doth magnify the Lord." After[297]the Virgin's expression of thanks, the Shepherds join in the chorus, "The whole Earth is at rest," which is peculiarly striking in its contrasts. A short recitative by the Angel, warning Mary to flee into Egypt, is followed by a very sombre chorus ("In Rama was there a Voice"). At its close, the tenor is heard in a tender aria ("Refrain thy Voice from weeping"), leading to a chorus full of spirited harmony, and rising to a very effective climax ("I will pour My Spirit"), which closes the scene.
The "Nazareth" scene opens with a baritone solo ("The Spirit of the Lord is upon me"), in which Jesus declares himself in the synagogue as the object of the prophecy from Isaiah which he has been reading. The Jews answer in a very dramatic chorus ("Whence hath this Man his Wisdom?"). Again Jesus interposes with the declaration, "A prophet is not without honor save in his own country;" whereupon the people break out in a still more dramatic chorus ("Is not this Jesus?"), set to a very effective accompaniment. For the third time Jesus declares himself, followed by the stirring, furious chorus, "Why hear ye him?" A tender and at times fervid solo ("Lord, who hath believed our Report?") leads to a very effective quintet ("Doubtless Thou art our Father"). After another brief baritone solo ("Blessed are they"), we come to the chorus, "He maketh the Sun to rise," which is one of the most beautifully written in the work, and closes the scene.
The third scene, "Lazarus," begins with the description of the mournful journey to Bethany, the arrival among the kindred and friends, who are trying to comfort the bereaved sisters, and closes at the still unopened grave. It includes a duet between tenor and baritone, the former a Disciple, the latter Jesus, whose music is invariably sung by the baritone voice; a solo for alto ("Weep ye not for the Dead"), with a sombre orchestral prelude, and accompanied by a chorus in its close; a dialogue between Martha and Jesus ("Lord, if thou hadst been here"); a short but very beautiful chorus ("Behold how he loved him!"); the baritone solo, "Said I not unto thee;" and a final chorus of great power ("The Grave cannot praise thee").
The last scene of the first part, "The Way to Jerusalem," is very brilliant throughout, and is in cheerful contrast with the general sombreness of the preceding numbers. It opens with a brief dialogue between Jesus and a Disciple ("Master, get thee out, and depart hence"), which leads to a charming three-part chorus for children's voices ("Hosanna to the Son of David"), with a prominent harp part in the accompaniment, and worked up to a fine climax. A brilliant soprano solo ("Tell ye the Daughter of Zion") intervenes, followed by a short dialogue between Jesus and a Pharisee, which leads to the vigorous chorus of the Disciples, "Blessed be the Kingdom." After another baritone solo ("If thou hadst known, O Jerusalem") the children's hosanna is repeated,--this time with[299]the power of the full chorus; and the first part comes to a close.
The first part opens with a prelude of a few bars; but the second begins with a long overture, very effectively written, and intended, as the composer himself says, to indicate the angry feelings and dissensions caused by the Lord's presence in Jerusalem. At its close the baritone, in one of the most forcible solos assigned to this part ("When the Son of Man shall come in his Glory"), discourses the parable of the sheep and goats. The wondering chorus of the People, "Is not this he whom they seek to kill?" follows, and then ensues a somewhat tedious scene. A Ruler argues with the People, contemptuously asking if Christ shall come out of Galilee. The People remain unconvinced, however. Nicodemus then strives to reason with the Ruler, with the natural effect of making him very angry. All this leads up to an effective female chorus ("The Hour is come"). In a very tender and pathetic solo ("Daughters of Jerusalem") Jesus sings his farewell. The incidents of the crucifixion are avoided, as the work is intended only to illustrate the human career of Jesus. The rest of the story is told in narrative form; an unaccompanied quartet ("Yea, though I walk") and a powerful, but gloomy chorus, describing Christ's sufferings ("Men and Brethren"), bring us to the sepulchre. The scene opens with the plaint of Mary Magdalene, "Where have they laid him?" and the response of the Angel, who tells her Christ has risen, which is followed by a six-part[300]unaccompanied chorus ("The Lord is risen"). A short tenor solo ("If ye be risen with Christ") leads directly to the final chorus ("Him hath God exalted"), which is worked up in fugal form with much spirit.
[301]VERDI.Giuseppe Verdi, the greatest of living Italian opera composers, was born at Roncale, Oct. 9, 1813. Like many another musician, he sprang from humble and rude beginnings, his parents having kept a small inn and notion store in the little Italian village. His musical talent displayed itself very early. In his tenth year he was appointed organist in the place of Baistrocchi, the master with whom he had been studying at Busseto. Through the generosity of his patron, M. Barezzi, he was sent to Milan, where he was refused admission to the Conservatory, on the ground that he showed "no special aptitude for music!" Nothing daunted, the young composer, acting on the suggestions of the conductor of La Scala, studied composition and orchestration with M. Lavigne, himself a composer of no mean ability. In 1833 Verdi returned to Busseto, and five years later went back to Milan, where he began his wonderfully successful career as an operatic composer. His first opera, "Oberto Conte di S. Bonifacio," appeared in 1839, and was followed by a[302]series of operatic works that have achieved world-wide success and placed their composer at the head of all contemporary Italian writers. The most important of them are: "Nabucco" (1842); "I Lombardi" (1843); "Ernani" (1844); "Attila" (1846); "Macbeth" (1847); "I Masnadieri" (1847); "Luisa Miller" (1849); "Rigoletto" (1851); "Il Trovatore" (1853); "La Traviata" (1853); "The Sicilian Vespers" (1855); "The Masked Ball" (1857); "The Force of Destiny" (1862); "Don Carlos" (1867); "Aïda" (1871). In the last-named opera, Verdi departs from the purely Italian school of operatic writing and shows the unmistakable signs of Wagner's influence upon him. Now, in his seventy-third year, comes the intelligence that he has completed still another opera, on the subject of "Othello," which will soon be placed in rehearsal in Paris. In the interval between "Aïda" and "Othello" he wrote the "Manzoni Requiem," a "Pater Noster" for five voices, and an "Ave Maria" for soprano solo. He has also written several marches, short symphonies, concertos for piano, minor church compositions, a stringed quartet, a "Stabat Mater," the choruses to Manzoni's tragedies, and numerous songs and romances for the drawing-room. With his wife, Madame Strepponi, he has spent a very quiet life in his villa at S. Agato, looking after his farming operations, to which of late years he has given more attention than to music. In a letter addressed to the Italian critic, Filippi, he writes: "I know very[303]well that you are also a most distinguished musician and devoted to your art: ... but Piave and Mariani must have told you that at S. Agato we neither make nor talk about music, and you will run the risk of finding a piano not only out of tune, but very likely without strings." He has been overwhelmed with decorations and honors, but has studiously avoided public life and the turmoil of the world. In 1866 he was elected a member of the Italian Parliament from Busseto, but sent in his resignation shortly afterwards; and in 1875 was appointed senator by the King, but never took his seat. His fame is indissolubly connected with his music, and in the pursuit of that art he has become one of the most admired composers of his time.
Giuseppe Verdi, the greatest of living Italian opera composers, was born at Roncale, Oct. 9, 1813. Like many another musician, he sprang from humble and rude beginnings, his parents having kept a small inn and notion store in the little Italian village. His musical talent displayed itself very early. In his tenth year he was appointed organist in the place of Baistrocchi, the master with whom he had been studying at Busseto. Through the generosity of his patron, M. Barezzi, he was sent to Milan, where he was refused admission to the Conservatory, on the ground that he showed "no special aptitude for music!" Nothing daunted, the young composer, acting on the suggestions of the conductor of La Scala, studied composition and orchestration with M. Lavigne, himself a composer of no mean ability. In 1833 Verdi returned to Busseto, and five years later went back to Milan, where he began his wonderfully successful career as an operatic composer. His first opera, "Oberto Conte di S. Bonifacio," appeared in 1839, and was followed by a[302]series of operatic works that have achieved world-wide success and placed their composer at the head of all contemporary Italian writers. The most important of them are: "Nabucco" (1842); "I Lombardi" (1843); "Ernani" (1844); "Attila" (1846); "Macbeth" (1847); "I Masnadieri" (1847); "Luisa Miller" (1849); "Rigoletto" (1851); "Il Trovatore" (1853); "La Traviata" (1853); "The Sicilian Vespers" (1855); "The Masked Ball" (1857); "The Force of Destiny" (1862); "Don Carlos" (1867); "Aïda" (1871). In the last-named opera, Verdi departs from the purely Italian school of operatic writing and shows the unmistakable signs of Wagner's influence upon him. Now, in his seventy-third year, comes the intelligence that he has completed still another opera, on the subject of "Othello," which will soon be placed in rehearsal in Paris. In the interval between "Aïda" and "Othello" he wrote the "Manzoni Requiem," a "Pater Noster" for five voices, and an "Ave Maria" for soprano solo. He has also written several marches, short symphonies, concertos for piano, minor church compositions, a stringed quartet, a "Stabat Mater," the choruses to Manzoni's tragedies, and numerous songs and romances for the drawing-room. With his wife, Madame Strepponi, he has spent a very quiet life in his villa at S. Agato, looking after his farming operations, to which of late years he has given more attention than to music. In a letter addressed to the Italian critic, Filippi, he writes: "I know very[303]well that you are also a most distinguished musician and devoted to your art: ... but Piave and Mariani must have told you that at S. Agato we neither make nor talk about music, and you will run the risk of finding a piano not only out of tune, but very likely without strings." He has been overwhelmed with decorations and honors, but has studiously avoided public life and the turmoil of the world. In 1866 he was elected a member of the Italian Parliament from Busseto, but sent in his resignation shortly afterwards; and in 1875 was appointed senator by the King, but never took his seat. His fame is indissolubly connected with his music, and in the pursuit of that art he has become one of the most admired composers of his time.
The Manzoni Requiem.The history of "The Manzoni Requiem" is of more than ordinary interest. Shortly after Rossini's death, in 1868, Verdi conceived the idea of a requiem in his memory, to be written by many hands, which should be performed in the cathedral of Bologna on each centenary of the composer's death, but upon no other occasion and at no other place. The project met with favor. The work was laid out in thirteen numbers and assigned to thirteen Italian composers, Verdi taking the "Libera me," which was to be the last number in the work. Each of[304]the composers finished his task; but when the parts were joined in a complete requiem they were found to be so dissimilar in treatment, and the whole work so incoherent and lacking in symmetry and unity, that the scheme went no further. M. Mazzucato, of Milan, who had examined the work, was so impressed with the "Libera me" that he wrote to Verdi urging him to compose the entire requiem.About this time (1873) Alessandro Manzoni, the founder of the romantic school in Italian literature, died, and was universally mourned by his countrymen. The requiem which had been intended for Rossini was now written by Verdi for his friend, the great Italian patriot and poet, the immortal author of "I promessi Sposi," and the "Libera me" was transferred to it. It was performed for the first time at Milan, May 22, 1874, the anniversary of Manzoni's death, with Teresa Stolz soprano, Maria Waldmann alto, Giuseppe Capponi tenor, and Ormondo Maini bass, a chorus of a hundred and twenty voices, and an orchestra of a hundred and ten. It was next given in Paris, in the following month, under the composer's direction and since that time has been frequently given in Europe and in the United States.The mass is divided into seven parts, with solos, choruses, and full orchestra, as follows: No. 1. "Requiem" and "Kyrie" (quartet and chorus). 2. "Dies Iræ;" thus divided: "Dies Iræ" (chorus); "Tuba Mirum" (chorus); "Liber scriptus" (chorus and fugue); "Quid sum miser" (trio for soprano,[305]alto, and tenor); "Rex tremendæ" (quartet and chorus); "Recordare" (duo for soprano and alto, and chorus); "Ingemisco" (solo for tenor); "Confutatis" (solo for bass); "Lacrymosa" (quartet and chorus). 3. "Domine Jesu," offertory, by quartet. 4. "Sanctus" (fugue with double chorus). 5. "Agnus Dei" (duet for soprano and alto, and chorus). 6. "Lux æterna" (trio for alto, tenor, and bass). 7. "Libera me" (solo for soprano, chorus, and final fugue).The "Requiem" opens, after a few measures of prelude, with the chorus chanting the appeal for rest sotto voce, the effect being carried as pianissimo as possible until the basses, by an abrupt change of key, give out the theme of a fugue ("Te decet hymnus"), written in pure religious style. The introductory "Requiem" is repeated, and leads to the "Kyrie," the theme of which is stated by the tenor, and in turn taken up by the other soloists, the chorus shortly joining, a double sextet interwoven with it, and the whole closing pianissimo, as the "Requiem" opened.The second part, the "Dies Iræ," is in strong contrast with the first, and is more broadly and dramatically worked up, and with freer accompaniment. The opening chorus is one of startling power. The tenors and basses open the number, immediately followed by the four parts announcing the Day of Wrath in high, sustained notes, while the second sopranos, altos, and tenors accompany them with immense sweeps of sound that rise and fall like the[306]waves. There are nine numbers in this part which have been already specified, the most effective of them being the adagio trio ("Quid sum miser") for soprano, alto, and tenor, upon which Verdi has lavished his melodious inspiration. The trio is continually interwoven with the chorus shouting fortissimo the "Rex tremendæ majestatis," until it takes another form in the prayer, "Recordare," a duet for soprano and alto in Verdi's best operatic vein. A very effective tenor solo, "Ingemisco," followed by a very solemn and majestic bass solo, "Confutatis," lead to the stirring measures of the Day of Wrath again, and close this part in an ensemble of immense power, both vocal and dramatic.The offertory ("Domine Jesu") is a quartet with three motives,--the first andante, the second allegro, and the third adagio in Gregorian form, the three themes being admirably worked up and accompanied. The "Sanctus" (the fourth part of the mass) is a very impressive allegro double chorus, followed by the "Agnus Dei," a duet for soprano and alto which is full of melodious inspiration, illustrated with charming instrumental color; it is the gem of the mass, and one of the happiest numbers Verdi has ever scored. The sixth part is the "Lux æterna," a trio for alto, tenor, and bass which is very dramatic in setting; and this leads to the "Libera," the final division and the climax of the work. It is in its general effect a soprano obligato with chorus. After a monotone recitative and solo, the "Dies Iræ" is repeated, likewise the "Requiem[307]æternam" (which forms the introduction of the mass), and closes with a fugue of majestic proportions that finally ends in the same pianissimo effect as characterizes the opening of the work.Thus much of the work in detail. It remains to look at this mass as a whole. The first thought that will strike the listener is its utter dissimilarity to any other of Verdi's works, except "Aïda." Like that opera, it is in his latest style,--an attempt to show the world that he can write something besides melodies. Hence we find more decided contrapuntal effects, the canon and fugue forms, and even the plain, serious style of the early devotional music of the Church in the days of Gregory and Palestrina. The second thought is that this mass, although it has had Papal approval, is not so much a mass as it is a dramatic threnody in memory of a loved friend. As compared with the masses of Beethoven, Mozart, Haydn, and the other early mass-writers, it has not their conventional form, their regular sequence of setting, their coherence of spirit and sentiment. There are wide divergences in it from the old beaten track. But it may be said, on the other hand, that while the traditions are violated, Verdi does not so far lose sight of the devotional character of his work as to descend to the light, tripping, and sometimes fantastic measures of Rossini in the "Stabat Mater." Von Bülow very nearly hit the truth in saying that "The Manzoni Requiem" is an opera in ecclesiastical costume. The dramatic element is its strong feature, and the inexhaustible[308]resources of the composer's invention strike the hearer as one of the chief characteristics. The first six parts seem to have included nearly all that can be done, and you wonder if the last part, the "Libera me," will not fall tamely; when to your surprise it proves to be the grand culmination of the work, and presents, with its solo and chorus and imposing fugue, an ensemble of effect, a richness of instrumentation, a severe and almost classical form of composition, and a dramatic intensity and passion that sweep the whole range of power, from a fortissimo tutte forza, down to the faintest whisper of a pianissimo. It bursts upon you like the thunder, and dies away in the still small voice that whispers the requiem of everlasting rest.
The history of "The Manzoni Requiem" is of more than ordinary interest. Shortly after Rossini's death, in 1868, Verdi conceived the idea of a requiem in his memory, to be written by many hands, which should be performed in the cathedral of Bologna on each centenary of the composer's death, but upon no other occasion and at no other place. The project met with favor. The work was laid out in thirteen numbers and assigned to thirteen Italian composers, Verdi taking the "Libera me," which was to be the last number in the work. Each of[304]the composers finished his task; but when the parts were joined in a complete requiem they were found to be so dissimilar in treatment, and the whole work so incoherent and lacking in symmetry and unity, that the scheme went no further. M. Mazzucato, of Milan, who had examined the work, was so impressed with the "Libera me" that he wrote to Verdi urging him to compose the entire requiem.
About this time (1873) Alessandro Manzoni, the founder of the romantic school in Italian literature, died, and was universally mourned by his countrymen. The requiem which had been intended for Rossini was now written by Verdi for his friend, the great Italian patriot and poet, the immortal author of "I promessi Sposi," and the "Libera me" was transferred to it. It was performed for the first time at Milan, May 22, 1874, the anniversary of Manzoni's death, with Teresa Stolz soprano, Maria Waldmann alto, Giuseppe Capponi tenor, and Ormondo Maini bass, a chorus of a hundred and twenty voices, and an orchestra of a hundred and ten. It was next given in Paris, in the following month, under the composer's direction and since that time has been frequently given in Europe and in the United States.
The mass is divided into seven parts, with solos, choruses, and full orchestra, as follows: No. 1. "Requiem" and "Kyrie" (quartet and chorus). 2. "Dies Iræ;" thus divided: "Dies Iræ" (chorus); "Tuba Mirum" (chorus); "Liber scriptus" (chorus and fugue); "Quid sum miser" (trio for soprano,[305]alto, and tenor); "Rex tremendæ" (quartet and chorus); "Recordare" (duo for soprano and alto, and chorus); "Ingemisco" (solo for tenor); "Confutatis" (solo for bass); "Lacrymosa" (quartet and chorus). 3. "Domine Jesu," offertory, by quartet. 4. "Sanctus" (fugue with double chorus). 5. "Agnus Dei" (duet for soprano and alto, and chorus). 6. "Lux æterna" (trio for alto, tenor, and bass). 7. "Libera me" (solo for soprano, chorus, and final fugue).
The "Requiem" opens, after a few measures of prelude, with the chorus chanting the appeal for rest sotto voce, the effect being carried as pianissimo as possible until the basses, by an abrupt change of key, give out the theme of a fugue ("Te decet hymnus"), written in pure religious style. The introductory "Requiem" is repeated, and leads to the "Kyrie," the theme of which is stated by the tenor, and in turn taken up by the other soloists, the chorus shortly joining, a double sextet interwoven with it, and the whole closing pianissimo, as the "Requiem" opened.
The second part, the "Dies Iræ," is in strong contrast with the first, and is more broadly and dramatically worked up, and with freer accompaniment. The opening chorus is one of startling power. The tenors and basses open the number, immediately followed by the four parts announcing the Day of Wrath in high, sustained notes, while the second sopranos, altos, and tenors accompany them with immense sweeps of sound that rise and fall like the[306]waves. There are nine numbers in this part which have been already specified, the most effective of them being the adagio trio ("Quid sum miser") for soprano, alto, and tenor, upon which Verdi has lavished his melodious inspiration. The trio is continually interwoven with the chorus shouting fortissimo the "Rex tremendæ majestatis," until it takes another form in the prayer, "Recordare," a duet for soprano and alto in Verdi's best operatic vein. A very effective tenor solo, "Ingemisco," followed by a very solemn and majestic bass solo, "Confutatis," lead to the stirring measures of the Day of Wrath again, and close this part in an ensemble of immense power, both vocal and dramatic.
The offertory ("Domine Jesu") is a quartet with three motives,--the first andante, the second allegro, and the third adagio in Gregorian form, the three themes being admirably worked up and accompanied. The "Sanctus" (the fourth part of the mass) is a very impressive allegro double chorus, followed by the "Agnus Dei," a duet for soprano and alto which is full of melodious inspiration, illustrated with charming instrumental color; it is the gem of the mass, and one of the happiest numbers Verdi has ever scored. The sixth part is the "Lux æterna," a trio for alto, tenor, and bass which is very dramatic in setting; and this leads to the "Libera," the final division and the climax of the work. It is in its general effect a soprano obligato with chorus. After a monotone recitative and solo, the "Dies Iræ" is repeated, likewise the "Requiem[307]æternam" (which forms the introduction of the mass), and closes with a fugue of majestic proportions that finally ends in the same pianissimo effect as characterizes the opening of the work.
Thus much of the work in detail. It remains to look at this mass as a whole. The first thought that will strike the listener is its utter dissimilarity to any other of Verdi's works, except "Aïda." Like that opera, it is in his latest style,--an attempt to show the world that he can write something besides melodies. Hence we find more decided contrapuntal effects, the canon and fugue forms, and even the plain, serious style of the early devotional music of the Church in the days of Gregory and Palestrina. The second thought is that this mass, although it has had Papal approval, is not so much a mass as it is a dramatic threnody in memory of a loved friend. As compared with the masses of Beethoven, Mozart, Haydn, and the other early mass-writers, it has not their conventional form, their regular sequence of setting, their coherence of spirit and sentiment. There are wide divergences in it from the old beaten track. But it may be said, on the other hand, that while the traditions are violated, Verdi does not so far lose sight of the devotional character of his work as to descend to the light, tripping, and sometimes fantastic measures of Rossini in the "Stabat Mater." Von Bülow very nearly hit the truth in saying that "The Manzoni Requiem" is an opera in ecclesiastical costume. The dramatic element is its strong feature, and the inexhaustible[308]resources of the composer's invention strike the hearer as one of the chief characteristics. The first six parts seem to have included nearly all that can be done, and you wonder if the last part, the "Libera me," will not fall tamely; when to your surprise it proves to be the grand culmination of the work, and presents, with its solo and chorus and imposing fugue, an ensemble of effect, a richness of instrumentation, a severe and almost classical form of composition, and a dramatic intensity and passion that sweep the whole range of power, from a fortissimo tutte forza, down to the faintest whisper of a pianissimo. It bursts upon you like the thunder, and dies away in the still small voice that whispers the requiem of everlasting rest.
[309]SACRED MUSIC IN AMERICA.The following sketch of the rise and progress of sacred music in America may prove of interest to the reader as a supplement to the history of the Oratorio and of the numerous illustrations of that class of compositions contained in the body of the book. Ritter, Gould, Hood, and other church-music historians have been freely consulted to make the sketch as complete as possible.The psalmody of the Protestant church was first arranged and brought into use in the course of the sixteenth century, through the efforts of the reformers in Germany and particularly of Martin Luther, who was extremely fond of music, and wrote a quaint discourse on the art. In 1524 he published a collection of hymns which also comprised a few versified psalms. These were set to music in four parts, as he says "for no other reason than because of my desire that the young, who ought to be educated in music as well as in other good arts, might have[310]something to take the place of worldly and amorous songs, and so learn something useful and practise something virtuous, as becometh the young. I would be glad to see all arts, and especially music, employed in the service of Him who created them." Zwingle, Cranmer, Calvin, and Knox were also zealous advocates of psalm-singing; and during the same century Tye, Tallis, Bird, and Gibbons did a great work for ecclesiastical music in England.At the time of the Reformation in England the Puritans proved themselves zealous musical reformers. They reduced singing to the severest simplicity. They had no sympathy with elaborate arrangements. Organs, choir-books, and choir-singers were objects of their special antipathy. One of these iconoclasts says: "This singing and saying of mass, matins, or even-song is but roryng, howling, whisteling, mummying, conjuring and jogelyng and the playing of orgayns a foolish vanitie." Latimer in 1537 notified the convent at Worcester: "Whenever there shall be any preaching in your monastery all manner of singing and other ceremonies shall be utterly laid aside." In 1562 it was proposed that the psalms should be sung by the whole congregation, and that organs should be no longer used. In the Confession of the Puritans (1571) they say: "Concerning the singing of the psalms, we allow of the people's joining with one voice in a plain tune, but not in tossing the psalms from one side to the other, with intermingling of organs." An appeal was made to Parliament against the singing of the noble cathedral[311]music by "chanting choristers disguised, as are all the rest, in white surplices, some in corner caps and silly copes, imitating the fashion and manner of Antichrist the Pope, that man of sin and child of perdition, with his other rabble of miscreants and shavelings."Sternhold, who was groom of the robes to Henry VIII. and afterwards groom of the bed-chamber to Edward VI., was one of the most zealous of these reformers. In connection with Hopkins, a clergyman and schoolmaster, he versified a large number of the psalms and published them. They were printed at first without music, but in 1562 they appeared with the notes of the plain melody under the following title: "The whole Book of Psalms, collected into English metre by T. Sternhold and J. Hopkins and others, conferred with the Ebrue, with apt notes to sing them withal. Imprinted by John Day." In this work there was but one part, the air, and each note was accompanied by its name; but a few years later the psalms appeared set to music in four parts. They were the work of William Damon, and his book bore the title: "The Psalms of David to English Metre, with notes of Four Parts set unto them, by Wm. Damon, to the Use of the Godly Christians, for recreating themselves, instead of fond and unseemly ballads. 1579." In 1599 there appeared a very ambitious work in folio form, so arranged that four persons might sing from it, and bearing the title: "The Psalms of David in Metre, the Plain song being[312]the common Tune, to be sung and played upon the Lute, Orpharion, Citterne, or Bass-viol, severally or together; the singing Part to be either Tenor or Treble to the instrument, according to the Nature of the Voice, or for Four Voices; with Ten Short Tunes in the end, to which, for the most part, all Psalms may be usually sung; for the Use of such as are of mean Skill, and whose Leisure least serveth to practice. By Richard Allison, Gent., Practitioner in the Art of Music." Notwithstanding its formidable title, the work was not highly esteemed at the time. In 1621, Thomas Ravenscroft, Bachelor of Music, published an excellent collection of psalm tunes, many of which are still in use. In his preface he says, by way of advice: "1. That psalms of tribulation be sung with a low voice and long measure; 2. That psalms of thanksgiving be sung with a voice indifferent, neither too loud nor too soft, and neither too swift nor too slow; 3. That psalms of rejoicing be sung with a loud voice and a swift and jocund measure." His preface closes with the pious wish that all his patrons after death may join in the "Quire of Angels in the Heavens."The date of the Ravenscroft collection brings us to the time of the Pilgrims. When they loaded the "Mayflower" with their homely household furniture, spinning-wheels, and arms of defence, and set out upon their long and uncertain voyage to find a friendly shore where they might worship God in their own fashion, the psalm-book was not forgotten.[313]They brought with them a version made by Henry Ainsworth of Amsterdam, in which the notes set above the words were of lozenge shape. For twenty years it was in exclusive use, though the Salem Church did not abandon it until 1667, and the Plymouth Church retained the old favorite until 1692. The Sternhold and Hopkins collection had also found its way over, but it was used only at Ipswich and in its vicinity. In 1640 appeared the Bay Psalm Book, issued from the Cambridge press. It was prepared by an association of New England divines, most prominent among whom were Thomas Welde, Richard Mather of Dorchester, and John Eliot of Roxbury, the famous Indian missionary. Being new, it was at once regarded as an innovation. The churches were soon in a wrangle, not only over the contents of the new collection, but as to the methods of singing. Some were opposed to singing altogether, while others insisted that only Christian voices should be heard. At no time were the colonists very learned in music. In the edition of the Bay Psalm Book printed in 1698, the following concise directions appear:--"First, observe how many note-compass the tune is next the place of your first note, and how many notes above and below that, so as you may begin the tune of your first note, as the rest may be sung in the compass of your and the people's voices, without Squeaking above or Grumbling below. For the better understanding of which take note of the following directions:[314]"Of the eight short Tunes used to four lines only, whose measure is to eight syllables on the first line, and six on the next; and may be sung to any Psalms of that measure.Oxford Tune.Litchfield Tune.Low Dutch Tune.}} To Psalms Consolatory.}York Tune.Winsor Tune.}}To Psalms of Prayer, Confessions, and Funerals.Cambridge Short Tune to peculiar Psalms, as 21, 24, 33, 70, 86, first metre, 114, 132."Those six short tunes, in tuning the first notes, will bear a cheerful high pitch; in regard to their whole compass from the lowest note, the highest is not above five or six notes.St. David's Tune.Martyrs Tune.}}To Psalms of Praise and Thanksgiving."These two tunes are eight notes compass above the first note, and therefore begin the first note low."Of five long tunes following:"Hackney Tune--119 Psalm Tune, second metre. These two tunes begin your first note low, for the compass is nine notes, and eight above the first note of the tune."100 Psalm Tune. This one tune begin your note indifferent high, in regard you are to fall your note lower than your first pitch note."113 Psalm Tune, and 148 Psalm Tune.--These two tunes begin your first note low, in regard the Tune ascends eight notes above it."The turmoil in the churches was settled for a time by Rev. John Cotton, who issued a tract entitled "Singing of Psalms a Gospel ordinance, or a[315]Treatise wherein are handled these four Particulars: I. Touching the duty itself. II. Touching the matter to be sung. III. Touching the singers. IV. Touching the manner of singing." In this tract the author says:--"For the first Question we lay downe this conclusion for a Doctrine of Truth: That singing of Psalms with a lively voyce, is an holy duty of God's worship now in the day of the New Testament. When we say, singing with lively voyce, we suppose none will so farre misconstrue us as to thinke we exclude singing with the heart; for God is a Spirit, and to worship him with the voyce without the spirit, were but lip-labour; which (being rested in) is but lost labour, or at most profitted but little. Concerning the second Question we hold and believe that not only the Psalms of David, but any other spirituall song recorded in the Scripture, may lawfully be sung in Christian Churches. 2d. We grant also that any private Christian who hath a gifte to frame a spirituall song, may both frame it and sing it privately for his own private comfort, and remembrance of some special benefit or deliverance. Nor do we forbid the private use of any instrument of Music therewithall, so that attention to the instrument does not divert the heart from attention of the matter of song."Whether women may sing as well as men: For in this point there be some that deale with us as Pharaoh delt with the Israelites, who, though he was at first utterly unwilling that any should go to sacrifice to the Lord in the Wilderness, yet being at length convinced that they must goe, then he was content that the men should goe, but not the women. So here,[316]some that were altogether against singing of Psalms at all with lively voyce, yet being convinced that it is a morall worship of God warranted in Scripture, then if there must be a Singing, one alone must sing, not all (or if all) the men only, and not the women. And their reason is: Because it is not permitted to a women to speake in the Church, how then shall they sing? Much less is it permitted to them to prophecy in the Church. And singing the Psalms is a kind of Prophecying."Peace, however, was of short duration. Fresh quarrels arose. The early colonists were good fighters. They quarrelled over the question whether one should sing or the whole congregation; whether women as well as men should sing; whether pagans should be allowed to lift up their voices; and whether the scanty stock of tunes should be enlarged. Learning a tune by note, without having previously heard it, was almost a mortal offence, and at last something like a compromise was effected in some of the churches, where alternate singing by rote and rule satisfied both parties. The ministers added to the general confusion with a flood of circulars on the subject. Several of them issued a tract entitled "Cases of Conscience about singing Psalms," in which they ask:--"Whether you do believe that singing Psalms, Hymns, and Spirituall Songs is an external part of Divine Worship, to be observed in and by the assembly of God's people on the Lord's Days, as well as on other occasional meetings of the Saints for the worshipping of God.[317]"Whether you do believe that singing in the worship of God ought to be done skilfully?"Whether you do believe that skilfulness in singing may ordinarily be gained in the use of outward means by the blessing of God."Is it possible for Fathers of forty years old and upward to learn to sing by rule; and ought they to attempt at this age to learn?"Do you believe that it is Lawful and Laudable for us to change the customary way of singing the psalms?"Whether they who purposely sing a tune different from that which is appointed by the pastor or elder to be sung are not guilty of acting disorderly, and of taking God's name in vain also, by disturbing the order of the sanctuary."Rev. Thomas Symmes, of Bradford, Mass., also issued a tract in which he contended for rule-singing. On this point he says:--"The total neglect of singing psalms by many serious Christians for want of skill in singing psalm-tunes. There are many who never employ their tongues in singing God's praises, because they have no skill. It is with great difficulty that this part of worship is performed, and with great indecency in some congregations for want of skill; it is to be feared singing must be wholly omitted in some places for want of skill if this art is not revived. I was present in a congregation where singing was for a whole Sabbath omitted for want of a man able to lead the assembly in singing."The declining from and getting beside the rule was gradual and insensible. Singing-schools and singing-books being laid aside, there was no way to learn, but only by hearing of tunes sung or by taking[318]the run of the tunes, as it is phrased. The rules of singing not being taught or learnt, every one sang as best pleased himself; and every leading-singer would take the liberty to raise any note of the tune, or lower it, as best pleased his ear, and add such notes and flourishes as were grateful to him; and this was done so gradually as that but few if any took notice of it. One Clerk or Chorister would alter the tunes a little in his day, the next a little in his, and so one after another, till in fifty or sixty years it caused a considerable alteration."John Eliot, who was having famous success with the Indians, particularly in teaching them psalm-singing,--for Dr. Mather says "their singing was most ravishing,"--made a long contribution to the general discussion, which contains the following "Lamentation:"--"That musick, which in itself is concord, harmony, melody, sweetness, charming even to irrational creatures, cheers the spirits of men, and tends to raise them in devotion, and in the praises of God, and was instituted by God as a means of divine worship, which is a terrour to evil spirits, the delight of the holy Angels, and will be everlasting imployment of those Seraphim and the glorified Saints, should be an occasion of strife, debate, discord, contention, quarelling, and all manner of disorder. That men, the only creatures in the lower creation that are accomplished with reason and apt organs to praise God with, should improve them so to dishonour him; and that instead of an angelick temper in man, which they are capable of, and is required of them, and especially in this matter,[319]there should be rather a cynick disposition and an improvement of such noble Organ to bark, snarl at, and bite one another; that instead of one heart and one voice in the praises of our Glorious Creator and most bountiful Benefactor, there should be only jangle, discord, and sluring and reviling one another, etc., this is, and shall be, for a lamentation."The essay closes with the following exhortation:"Whatever our thoughts are as to the mode or vocal part, whether theoldor thenew way(as it is called) be most pleasing to us, it would be our wisdom and a manifestation of our Christianity to deny ourselves and our own obstinate wills, which are apparently the chief cause of our contention in these things, and condescend (at least) so far one to the other as to keep time,i.e.to begin and end the lines all together, which if we did, there would not in most of the tunes commonly sung be so wide a difference as is by some imagined, many of the lines being near alike; if we all sincerely endeavour to exercise grace in Singing, and to perform the vocal part in the best manner we could, our service would be accepted of God. And I doubt not but regular singing would have a better relish with the most of our people and be comply'd with, and so our differences would end in a good and lasting union, and our jars and discords in a sweet and delightful concord and harmony. So let it be: Amen."At last harmony was restored, and a serious effort was made to introduce better singing, in which the college at Cambridge took a leading part. In 1712, Rev. John Tufts, of Newbury, issued a book of[320]twenty-eight tunes, so arranged by appending letters to the notes, as F for Fa, S for Sol, etc., "that the learner may attain the skill of singing them with the greatest ease and speed imaginable." These tunes were reprinted in three parts from Playford's "Book of Psalms." In 1721, Rev. Thomas Walter, of Roxbury, Mass., issued a new book, also compiled from Playford, which was highly commended by the clergy. The English singing-books by Tansur and Williams were reprinted by Thomas Bailey, at Newburyport, Mass., and had a large circulation. In 1761, James Lyon, of Philadelphia, published a very ambitious work, called "Urania, or a choice collection of Psalm Tunes, Anthems, and Hymns," which was compiled from the English books. The edition, however, was a small one, and was issued in such an expensive manner that it ruined the unfortunate author. In 1764 appeared another collection, made by Josiah Flagg, who was a composer himself as well as band-master. Its title reads: "A Collection of the best Psalm Tunes in two, three, and four parts, from the most approved authors, fitted to all measures and approved by the best masters in Boston, New England; the greater part of them never before printed in America. Engraved by Paul Revere, printed and sold by him and Jos. Flagg." About the same time Daniel Bailey, of Newburyport, Mass., published "A new and complete Introduction to the Grounds and Rules of Music, in two Books;" and in 1769, "the American Harmony," reprinted from English collections.[321]Up to this period, or, more strictly, to the year 1770, no American composers had contributed to New England psalmody. Though numerous singing-books had appeared, they were compiled from the English collections and reprinted. The first composer of church music in America was William Billings, born at Boston, Oct. 7, 1747. He was the son of poor parents, and followed tanning for an occupation. Gould, in his "History of Church Music," says of him:--"Billings was somewhat deformed in person, blind in one eye, one leg shorter than the other, one arm somewhat withered, with a mind as eccentric as his person was deformed. To say nothing of the deformity of his habits, suffice it, he had a propensity for taking snuff that may seem almost incredible, when in these days those who use it are not very much inclined to expose the article. He used to carry it in his coat-pocket, which was made of leather; and every few minutes, instead of taking it in the usual manner, with thumb and finger, would take out a handful and snuff it from between his thumb and clenched hand. We might infer from this circumstance that his voice could not have been very pleasant and delicate."This uncouth and eccentric tanner was the father of American church music, and of American choirs, concerts, and singing-schools as well. He wrote his first tunes on the boards of the tannery as he tended the bark-mill. He was a zealous patriot; and as Governor Samuel Adams was not only a still more zealous patriot, but devotedly attached to music, the[322]two became warm friends and at one time sang together in a choir, evidently much to the distress of Adams, as his companion had a stentorian voice. His association with Adams led him to the composition of songs of a patriotic and religious character, one of which, set to the tune known as "Chester," played an important part in rousing the martial spirit of the colonists. It runs as follows:--"Let tyrants shake their iron rod,And slavery clank her galling chains;We'll fear them not, we'll trust in God;New England's God forever reigns."The foe comes on with haughty stride,Our troops advance with martial noise;Their veterans flee before our arms,And generals yield to beardless boys."That the tanner had a sly humor of his own is demonstrated by the following instructions appended to one of his anthems which was performed in a concert:--"We've met for a concert of modern invention;To tickle the ear is our present intention;The audience seated, expect to be treatedWith a piece of the best."And since we all agreeTo set the key on E,The author's darling keyHe prefers to the rest,The bass take the lead,And firmly proceed;Let the tenor succeed," etc.[323]In 1770 his first compositions appeared in a work of one hundred and eight pages entitled "The New England Psalm Singer; or American Chorister. Containing a number of Psalm Tunes, Anthems, and Canons. In four and five parts. (Never before published.) Composed by William Billings, a native of Boston, in New England. Matt. xii. 16, 'Out of the mouth of Babes and Sucklings hast thou perfected Praise;' James v. 13, 'Is any merry, let him sing Psalms.''O, praise the Lord with one consent,And in this grand designLet Britain and the ColoniesUnanimously join.'Boston: New England. Printed by Edes and Gill."In the preface to this work he quaintly says:--"To all Musical Practitioners."Perhaps it may be expected by some, that I could say something concerning rules for composition; to these I answer thatNature is the best Dictator, for all the hard dry studied rules that ever were prescribed will not enable any person to form an Air any more than the four and twenty letters, and strict Grammatical rules will qualify a scholar for composing a piece of Poetry, or properly adjusting a Tragedy without a Genius. It must be Nature; Nature must lay the Foundation, Nature must give the Thought. But perhaps some may think I mean and intend to throw Art entirely out of Question. I answer by no Means, for the more Art is displayed, the more Art is decorated. And in some sorts of composition there is dry[324]Study requir'd, and Art very requisite. For instance, in a Fuge. But even there Art is subservient to Genius, for Fancy goes first, and strikes out the Work roughly, and Art comes after and polishes it over. But to return to my Text: I have read several Authors' Rules on Composition, and find the strictest of them make some Exceptions, as thus, they say that two 8vosor two 5thsmay not be taken together rising or falling, unless one be Major and the other Minor; but rather than spoil the Air, they will allow that Breach to be made, and this Allowance gives great Latitude to young Composers, for they may always make that Plea, and say, if I am not allowed to transgress the Rules of composition I shall certainly spoil the Air, and cross the Strain that Fancy dictated. And indeed this is without dispute, a very just Plea, for I am sure I have often and sensibly felt the disagreeable and slavish Effect of such Restraint as is here pointed out, and so I believe every Composer of Poetry as well as Musick, for I presume there are strict Rules for Poetry, as for Musick. But as I have often heard of a Poetical License I don't see why with the same propriety there may not be a musical License, for Poetry and Musick are in close Connection, and nearly allied besides they are often assistants to each other, and like a true friend often hide each other's feelings. For I have known a Piece of Poetry that hath neither Rhime nor Reason in it, pass for tolerable good sense because it happened to be set to an excellent Piece of Musick, and to get Respect rather for its good Fortune in falling into such respectable company than for any Merit in itself: so likewise I have known and heard a very indifferent Tune often sung and much caress'd, only because it was set to a fine Piece of Poetry, without this recommendation, perhaps it would not be sung[325]twice over by one Person, and would be deemed to be dearly bought only at the expense of Breath requisite to perform it."For my own part, as I don't think myself confined to any Rules for Composition laid down by any that went before me, neither should I think (were I to pretend to lay down rules) that any who comes after me were any ways obligated to adhere to them any further than they should think proper; so in fact I think it is best for every composer to be his own learner. Therefore upon this consideration, for me to dictate, or pretend to prescribe Rules of this Nature for others, would not only be very unnecessary but also a very great piece of Vanity."His second work was the "Singing Master's Assistant," an abridgment and revision of his first. His humor again crops out in the following extract from its preface:--"Kind reader, no doubt you remember that about ten years ago I published a book entitled 'The New England Psalm-Singer;' and truly a most masterly performance I then thought it to be. How lavish was I of encomium on this my infant production! 'Welcome, thrice Welcome, thou legitimate Offspring of my brain, go forth my little book, go forth and immortalize the name of your Author: may your sale be rapid and may you speedily run through ten thousand Editions,' said I, 'Thou art my Reuben, my first born; the beginning of my Strength, the Excellency of my Dignity, and the Excellency of my power.' But to my great mortification I soon discovered it was Reuben in the sequel, and Reuben all over; I have discovered that[326]many pieces were never worth my printing or your inspection."It is the duty of Christians to praise God publicly by singing of psalms together in the congregation, and also privately in the family. In singing of psalms the voice is to be audible and gravely ordered; but the chief care must be to sing with understanding and with grace in the heart, making melody unto the Lord. That the whole congregation may join therein, every one that can read is to have a psalm-book, and all others not disabled by age or otherwise are to be exhorted to learn to read. But for the present, where many in the congregation cannot read, it is convenient that the minister or some fit person to be appinted by him and the other ruling officers, do read the psalms line by line, before the singing thereof."Billings's other publications were "Music in Miniature," "Psalm Singers' Amusement," "Suffolk Harmony," and "Continental Harmony." Though the crudest of musical works, for he was entirely unacquainted with harmony and musical rules, they had an immense influence. He was the pioneer, and the path he cleared was soon crowded with his successors. The most prominent of these were Andrew Law, born at Cheshire, Conn., in 1748, who published many books and taught in most of the New England States; Jacob Kimball, born at Topsfield, Mass., in 1761, who published the "Rural Harmony;" Oliver Holden, of Charlestown, Mass., who published the "American Harmony," "Union Harmony," and "Worcester Collection," and wrote the favorite tune "Coronation;" Samuel Holyoke,[327]born at Boxford, Mass., in 1771, author of the "Harmonia Americana" and "Columbian Repository;" Daniel Reed, born at Rehoboth, Mass., in 1757, who published the "American Singing-Book" and "Columbian Harmony;" Jacob French, born at Stoughton, Mass., in 1754, who issued a work entitled "Harmony of Harmony;" Timothy Swan, born at Suffield, Conn., in 1757, who published "Federal Harmony" and "New England Harmony," and wrote the familiar tunes "Poland" and "China;" John Hubbard, who wrote many anthems and treatises on music; Dutton, of Hartford, Conn., who issued the "Hartford Collection," and wrote the tune of "Woodstock;" Oliver Shaw, born at Middleborough, Mass., in 1799, who was totally blind, but became a very successful teacher and composer. Gould says that his compositions were "truly original," and one of them, "There's Nothing True but Heaven," was repeated night after night by the Boston Handel and Haydn Society.The era of psalm composers was followed by that of the singing-school teachers, who exerted a mighty influence upon sacred music and musical taste. At the same time numerous societies were organized, among them the Handel and Haydn Society of Boston, which was born April 20, 1815, and still exists,--a vigorous growth from the little gathering which gave its first concert on Christmas, Dec. 25, 1815, singing the first part of "The Creation" and selections from Handel's works, and was pronounced[328]by an enthusiastic critic of that time "the wonder of the nation." The great singing-teachers were Thomas Hastings of Washington, Conn., Lowell Mason of Mansfield, Mass., Nathaniel D. Gould of Chelmsford, Mass. Still later came George F. Root, Woodbury, Dyer, Bradbury, Ives, Johnson, and others, whose labors, both as composers and teachers, are familiar to all lovers of sacred music even at this day. The old-fashioned singing-school, however, has disappeared. The musical convention still survives in rural places. The great festivals, oratorio societies, the modern concert stage, even the opera, have all had their effect upon sacred music. The paid choir of professional musicians marks a long departure from the robust Puritan psalm-singers; its music is equally remote from the jingling tunes of Billings which "tickled the ears" of the colonists.
The following sketch of the rise and progress of sacred music in America may prove of interest to the reader as a supplement to the history of the Oratorio and of the numerous illustrations of that class of compositions contained in the body of the book. Ritter, Gould, Hood, and other church-music historians have been freely consulted to make the sketch as complete as possible.
The psalmody of the Protestant church was first arranged and brought into use in the course of the sixteenth century, through the efforts of the reformers in Germany and particularly of Martin Luther, who was extremely fond of music, and wrote a quaint discourse on the art. In 1524 he published a collection of hymns which also comprised a few versified psalms. These were set to music in four parts, as he says "for no other reason than because of my desire that the young, who ought to be educated in music as well as in other good arts, might have[310]something to take the place of worldly and amorous songs, and so learn something useful and practise something virtuous, as becometh the young. I would be glad to see all arts, and especially music, employed in the service of Him who created them." Zwingle, Cranmer, Calvin, and Knox were also zealous advocates of psalm-singing; and during the same century Tye, Tallis, Bird, and Gibbons did a great work for ecclesiastical music in England.
At the time of the Reformation in England the Puritans proved themselves zealous musical reformers. They reduced singing to the severest simplicity. They had no sympathy with elaborate arrangements. Organs, choir-books, and choir-singers were objects of their special antipathy. One of these iconoclasts says: "This singing and saying of mass, matins, or even-song is but roryng, howling, whisteling, mummying, conjuring and jogelyng and the playing of orgayns a foolish vanitie." Latimer in 1537 notified the convent at Worcester: "Whenever there shall be any preaching in your monastery all manner of singing and other ceremonies shall be utterly laid aside." In 1562 it was proposed that the psalms should be sung by the whole congregation, and that organs should be no longer used. In the Confession of the Puritans (1571) they say: "Concerning the singing of the psalms, we allow of the people's joining with one voice in a plain tune, but not in tossing the psalms from one side to the other, with intermingling of organs." An appeal was made to Parliament against the singing of the noble cathedral[311]music by "chanting choristers disguised, as are all the rest, in white surplices, some in corner caps and silly copes, imitating the fashion and manner of Antichrist the Pope, that man of sin and child of perdition, with his other rabble of miscreants and shavelings."
Sternhold, who was groom of the robes to Henry VIII. and afterwards groom of the bed-chamber to Edward VI., was one of the most zealous of these reformers. In connection with Hopkins, a clergyman and schoolmaster, he versified a large number of the psalms and published them. They were printed at first without music, but in 1562 they appeared with the notes of the plain melody under the following title: "The whole Book of Psalms, collected into English metre by T. Sternhold and J. Hopkins and others, conferred with the Ebrue, with apt notes to sing them withal. Imprinted by John Day." In this work there was but one part, the air, and each note was accompanied by its name; but a few years later the psalms appeared set to music in four parts. They were the work of William Damon, and his book bore the title: "The Psalms of David to English Metre, with notes of Four Parts set unto them, by Wm. Damon, to the Use of the Godly Christians, for recreating themselves, instead of fond and unseemly ballads. 1579." In 1599 there appeared a very ambitious work in folio form, so arranged that four persons might sing from it, and bearing the title: "The Psalms of David in Metre, the Plain song being[312]the common Tune, to be sung and played upon the Lute, Orpharion, Citterne, or Bass-viol, severally or together; the singing Part to be either Tenor or Treble to the instrument, according to the Nature of the Voice, or for Four Voices; with Ten Short Tunes in the end, to which, for the most part, all Psalms may be usually sung; for the Use of such as are of mean Skill, and whose Leisure least serveth to practice. By Richard Allison, Gent., Practitioner in the Art of Music." Notwithstanding its formidable title, the work was not highly esteemed at the time. In 1621, Thomas Ravenscroft, Bachelor of Music, published an excellent collection of psalm tunes, many of which are still in use. In his preface he says, by way of advice: "1. That psalms of tribulation be sung with a low voice and long measure; 2. That psalms of thanksgiving be sung with a voice indifferent, neither too loud nor too soft, and neither too swift nor too slow; 3. That psalms of rejoicing be sung with a loud voice and a swift and jocund measure." His preface closes with the pious wish that all his patrons after death may join in the "Quire of Angels in the Heavens."
The date of the Ravenscroft collection brings us to the time of the Pilgrims. When they loaded the "Mayflower" with their homely household furniture, spinning-wheels, and arms of defence, and set out upon their long and uncertain voyage to find a friendly shore where they might worship God in their own fashion, the psalm-book was not forgotten.[313]They brought with them a version made by Henry Ainsworth of Amsterdam, in which the notes set above the words were of lozenge shape. For twenty years it was in exclusive use, though the Salem Church did not abandon it until 1667, and the Plymouth Church retained the old favorite until 1692. The Sternhold and Hopkins collection had also found its way over, but it was used only at Ipswich and in its vicinity. In 1640 appeared the Bay Psalm Book, issued from the Cambridge press. It was prepared by an association of New England divines, most prominent among whom were Thomas Welde, Richard Mather of Dorchester, and John Eliot of Roxbury, the famous Indian missionary. Being new, it was at once regarded as an innovation. The churches were soon in a wrangle, not only over the contents of the new collection, but as to the methods of singing. Some were opposed to singing altogether, while others insisted that only Christian voices should be heard. At no time were the colonists very learned in music. In the edition of the Bay Psalm Book printed in 1698, the following concise directions appear:--
"First, observe how many note-compass the tune is next the place of your first note, and how many notes above and below that, so as you may begin the tune of your first note, as the rest may be sung in the compass of your and the people's voices, without Squeaking above or Grumbling below. For the better understanding of which take note of the following directions:[314]"Of the eight short Tunes used to four lines only, whose measure is to eight syllables on the first line, and six on the next; and may be sung to any Psalms of that measure.Oxford Tune.Litchfield Tune.Low Dutch Tune.}} To Psalms Consolatory.}York Tune.Winsor Tune.}}To Psalms of Prayer, Confessions, and Funerals.Cambridge Short Tune to peculiar Psalms, as 21, 24, 33, 70, 86, first metre, 114, 132."Those six short tunes, in tuning the first notes, will bear a cheerful high pitch; in regard to their whole compass from the lowest note, the highest is not above five or six notes.St. David's Tune.Martyrs Tune.}}To Psalms of Praise and Thanksgiving."These two tunes are eight notes compass above the first note, and therefore begin the first note low."Of five long tunes following:"Hackney Tune--119 Psalm Tune, second metre. These two tunes begin your first note low, for the compass is nine notes, and eight above the first note of the tune."100 Psalm Tune. This one tune begin your note indifferent high, in regard you are to fall your note lower than your first pitch note."113 Psalm Tune, and 148 Psalm Tune.--These two tunes begin your first note low, in regard the Tune ascends eight notes above it."
"First, observe how many note-compass the tune is next the place of your first note, and how many notes above and below that, so as you may begin the tune of your first note, as the rest may be sung in the compass of your and the people's voices, without Squeaking above or Grumbling below. For the better understanding of which take note of the following directions:[314]
"Of the eight short Tunes used to four lines only, whose measure is to eight syllables on the first line, and six on the next; and may be sung to any Psalms of that measure.
Oxford Tune.Litchfield Tune.Low Dutch Tune.}} To Psalms Consolatory.}York Tune.Winsor Tune.}}To Psalms of Prayer, Confessions, and Funerals.
St. David's Tune.Martyrs Tune.}}To Psalms of Praise and Thanksgiving.
The turmoil in the churches was settled for a time by Rev. John Cotton, who issued a tract entitled "Singing of Psalms a Gospel ordinance, or a[315]Treatise wherein are handled these four Particulars: I. Touching the duty itself. II. Touching the matter to be sung. III. Touching the singers. IV. Touching the manner of singing." In this tract the author says:--
"For the first Question we lay downe this conclusion for a Doctrine of Truth: That singing of Psalms with a lively voyce, is an holy duty of God's worship now in the day of the New Testament. When we say, singing with lively voyce, we suppose none will so farre misconstrue us as to thinke we exclude singing with the heart; for God is a Spirit, and to worship him with the voyce without the spirit, were but lip-labour; which (being rested in) is but lost labour, or at most profitted but little. Concerning the second Question we hold and believe that not only the Psalms of David, but any other spirituall song recorded in the Scripture, may lawfully be sung in Christian Churches. 2d. We grant also that any private Christian who hath a gifte to frame a spirituall song, may both frame it and sing it privately for his own private comfort, and remembrance of some special benefit or deliverance. Nor do we forbid the private use of any instrument of Music therewithall, so that attention to the instrument does not divert the heart from attention of the matter of song."Whether women may sing as well as men: For in this point there be some that deale with us as Pharaoh delt with the Israelites, who, though he was at first utterly unwilling that any should go to sacrifice to the Lord in the Wilderness, yet being at length convinced that they must goe, then he was content that the men should goe, but not the women. So here,[316]some that were altogether against singing of Psalms at all with lively voyce, yet being convinced that it is a morall worship of God warranted in Scripture, then if there must be a Singing, one alone must sing, not all (or if all) the men only, and not the women. And their reason is: Because it is not permitted to a women to speake in the Church, how then shall they sing? Much less is it permitted to them to prophecy in the Church. And singing the Psalms is a kind of Prophecying."
"For the first Question we lay downe this conclusion for a Doctrine of Truth: That singing of Psalms with a lively voyce, is an holy duty of God's worship now in the day of the New Testament. When we say, singing with lively voyce, we suppose none will so farre misconstrue us as to thinke we exclude singing with the heart; for God is a Spirit, and to worship him with the voyce without the spirit, were but lip-labour; which (being rested in) is but lost labour, or at most profitted but little. Concerning the second Question we hold and believe that not only the Psalms of David, but any other spirituall song recorded in the Scripture, may lawfully be sung in Christian Churches. 2d. We grant also that any private Christian who hath a gifte to frame a spirituall song, may both frame it and sing it privately for his own private comfort, and remembrance of some special benefit or deliverance. Nor do we forbid the private use of any instrument of Music therewithall, so that attention to the instrument does not divert the heart from attention of the matter of song.
"Whether women may sing as well as men: For in this point there be some that deale with us as Pharaoh delt with the Israelites, who, though he was at first utterly unwilling that any should go to sacrifice to the Lord in the Wilderness, yet being at length convinced that they must goe, then he was content that the men should goe, but not the women. So here,[316]some that were altogether against singing of Psalms at all with lively voyce, yet being convinced that it is a morall worship of God warranted in Scripture, then if there must be a Singing, one alone must sing, not all (or if all) the men only, and not the women. And their reason is: Because it is not permitted to a women to speake in the Church, how then shall they sing? Much less is it permitted to them to prophecy in the Church. And singing the Psalms is a kind of Prophecying."
Peace, however, was of short duration. Fresh quarrels arose. The early colonists were good fighters. They quarrelled over the question whether one should sing or the whole congregation; whether women as well as men should sing; whether pagans should be allowed to lift up their voices; and whether the scanty stock of tunes should be enlarged. Learning a tune by note, without having previously heard it, was almost a mortal offence, and at last something like a compromise was effected in some of the churches, where alternate singing by rote and rule satisfied both parties. The ministers added to the general confusion with a flood of circulars on the subject. Several of them issued a tract entitled "Cases of Conscience about singing Psalms," in which they ask:--
"Whether you do believe that singing Psalms, Hymns, and Spirituall Songs is an external part of Divine Worship, to be observed in and by the assembly of God's people on the Lord's Days, as well as on other occasional meetings of the Saints for the worshipping of God.[317]"Whether you do believe that singing in the worship of God ought to be done skilfully?"Whether you do believe that skilfulness in singing may ordinarily be gained in the use of outward means by the blessing of God."Is it possible for Fathers of forty years old and upward to learn to sing by rule; and ought they to attempt at this age to learn?"Do you believe that it is Lawful and Laudable for us to change the customary way of singing the psalms?"Whether they who purposely sing a tune different from that which is appointed by the pastor or elder to be sung are not guilty of acting disorderly, and of taking God's name in vain also, by disturbing the order of the sanctuary."
"Whether you do believe that singing Psalms, Hymns, and Spirituall Songs is an external part of Divine Worship, to be observed in and by the assembly of God's people on the Lord's Days, as well as on other occasional meetings of the Saints for the worshipping of God.[317]
"Whether you do believe that singing in the worship of God ought to be done skilfully?
"Whether you do believe that skilfulness in singing may ordinarily be gained in the use of outward means by the blessing of God.
"Is it possible for Fathers of forty years old and upward to learn to sing by rule; and ought they to attempt at this age to learn?
"Do you believe that it is Lawful and Laudable for us to change the customary way of singing the psalms?
"Whether they who purposely sing a tune different from that which is appointed by the pastor or elder to be sung are not guilty of acting disorderly, and of taking God's name in vain also, by disturbing the order of the sanctuary."
Rev. Thomas Symmes, of Bradford, Mass., also issued a tract in which he contended for rule-singing. On this point he says:--
"The total neglect of singing psalms by many serious Christians for want of skill in singing psalm-tunes. There are many who never employ their tongues in singing God's praises, because they have no skill. It is with great difficulty that this part of worship is performed, and with great indecency in some congregations for want of skill; it is to be feared singing must be wholly omitted in some places for want of skill if this art is not revived. I was present in a congregation where singing was for a whole Sabbath omitted for want of a man able to lead the assembly in singing."The declining from and getting beside the rule was gradual and insensible. Singing-schools and singing-books being laid aside, there was no way to learn, but only by hearing of tunes sung or by taking[318]the run of the tunes, as it is phrased. The rules of singing not being taught or learnt, every one sang as best pleased himself; and every leading-singer would take the liberty to raise any note of the tune, or lower it, as best pleased his ear, and add such notes and flourishes as were grateful to him; and this was done so gradually as that but few if any took notice of it. One Clerk or Chorister would alter the tunes a little in his day, the next a little in his, and so one after another, till in fifty or sixty years it caused a considerable alteration."
"The total neglect of singing psalms by many serious Christians for want of skill in singing psalm-tunes. There are many who never employ their tongues in singing God's praises, because they have no skill. It is with great difficulty that this part of worship is performed, and with great indecency in some congregations for want of skill; it is to be feared singing must be wholly omitted in some places for want of skill if this art is not revived. I was present in a congregation where singing was for a whole Sabbath omitted for want of a man able to lead the assembly in singing.
"The declining from and getting beside the rule was gradual and insensible. Singing-schools and singing-books being laid aside, there was no way to learn, but only by hearing of tunes sung or by taking[318]the run of the tunes, as it is phrased. The rules of singing not being taught or learnt, every one sang as best pleased himself; and every leading-singer would take the liberty to raise any note of the tune, or lower it, as best pleased his ear, and add such notes and flourishes as were grateful to him; and this was done so gradually as that but few if any took notice of it. One Clerk or Chorister would alter the tunes a little in his day, the next a little in his, and so one after another, till in fifty or sixty years it caused a considerable alteration."
John Eliot, who was having famous success with the Indians, particularly in teaching them psalm-singing,--for Dr. Mather says "their singing was most ravishing,"--made a long contribution to the general discussion, which contains the following "Lamentation:"--
"That musick, which in itself is concord, harmony, melody, sweetness, charming even to irrational creatures, cheers the spirits of men, and tends to raise them in devotion, and in the praises of God, and was instituted by God as a means of divine worship, which is a terrour to evil spirits, the delight of the holy Angels, and will be everlasting imployment of those Seraphim and the glorified Saints, should be an occasion of strife, debate, discord, contention, quarelling, and all manner of disorder. That men, the only creatures in the lower creation that are accomplished with reason and apt organs to praise God with, should improve them so to dishonour him; and that instead of an angelick temper in man, which they are capable of, and is required of them, and especially in this matter,[319]there should be rather a cynick disposition and an improvement of such noble Organ to bark, snarl at, and bite one another; that instead of one heart and one voice in the praises of our Glorious Creator and most bountiful Benefactor, there should be only jangle, discord, and sluring and reviling one another, etc., this is, and shall be, for a lamentation."
"That musick, which in itself is concord, harmony, melody, sweetness, charming even to irrational creatures, cheers the spirits of men, and tends to raise them in devotion, and in the praises of God, and was instituted by God as a means of divine worship, which is a terrour to evil spirits, the delight of the holy Angels, and will be everlasting imployment of those Seraphim and the glorified Saints, should be an occasion of strife, debate, discord, contention, quarelling, and all manner of disorder. That men, the only creatures in the lower creation that are accomplished with reason and apt organs to praise God with, should improve them so to dishonour him; and that instead of an angelick temper in man, which they are capable of, and is required of them, and especially in this matter,[319]there should be rather a cynick disposition and an improvement of such noble Organ to bark, snarl at, and bite one another; that instead of one heart and one voice in the praises of our Glorious Creator and most bountiful Benefactor, there should be only jangle, discord, and sluring and reviling one another, etc., this is, and shall be, for a lamentation."
The essay closes with the following exhortation:
"Whatever our thoughts are as to the mode or vocal part, whether theoldor thenew way(as it is called) be most pleasing to us, it would be our wisdom and a manifestation of our Christianity to deny ourselves and our own obstinate wills, which are apparently the chief cause of our contention in these things, and condescend (at least) so far one to the other as to keep time,i.e.to begin and end the lines all together, which if we did, there would not in most of the tunes commonly sung be so wide a difference as is by some imagined, many of the lines being near alike; if we all sincerely endeavour to exercise grace in Singing, and to perform the vocal part in the best manner we could, our service would be accepted of God. And I doubt not but regular singing would have a better relish with the most of our people and be comply'd with, and so our differences would end in a good and lasting union, and our jars and discords in a sweet and delightful concord and harmony. So let it be: Amen."
"Whatever our thoughts are as to the mode or vocal part, whether theoldor thenew way(as it is called) be most pleasing to us, it would be our wisdom and a manifestation of our Christianity to deny ourselves and our own obstinate wills, which are apparently the chief cause of our contention in these things, and condescend (at least) so far one to the other as to keep time,i.e.to begin and end the lines all together, which if we did, there would not in most of the tunes commonly sung be so wide a difference as is by some imagined, many of the lines being near alike; if we all sincerely endeavour to exercise grace in Singing, and to perform the vocal part in the best manner we could, our service would be accepted of God. And I doubt not but regular singing would have a better relish with the most of our people and be comply'd with, and so our differences would end in a good and lasting union, and our jars and discords in a sweet and delightful concord and harmony. So let it be: Amen."
At last harmony was restored, and a serious effort was made to introduce better singing, in which the college at Cambridge took a leading part. In 1712, Rev. John Tufts, of Newbury, issued a book of[320]twenty-eight tunes, so arranged by appending letters to the notes, as F for Fa, S for Sol, etc., "that the learner may attain the skill of singing them with the greatest ease and speed imaginable." These tunes were reprinted in three parts from Playford's "Book of Psalms." In 1721, Rev. Thomas Walter, of Roxbury, Mass., issued a new book, also compiled from Playford, which was highly commended by the clergy. The English singing-books by Tansur and Williams were reprinted by Thomas Bailey, at Newburyport, Mass., and had a large circulation. In 1761, James Lyon, of Philadelphia, published a very ambitious work, called "Urania, or a choice collection of Psalm Tunes, Anthems, and Hymns," which was compiled from the English books. The edition, however, was a small one, and was issued in such an expensive manner that it ruined the unfortunate author. In 1764 appeared another collection, made by Josiah Flagg, who was a composer himself as well as band-master. Its title reads: "A Collection of the best Psalm Tunes in two, three, and four parts, from the most approved authors, fitted to all measures and approved by the best masters in Boston, New England; the greater part of them never before printed in America. Engraved by Paul Revere, printed and sold by him and Jos. Flagg." About the same time Daniel Bailey, of Newburyport, Mass., published "A new and complete Introduction to the Grounds and Rules of Music, in two Books;" and in 1769, "the American Harmony," reprinted from English collections.
Up to this period, or, more strictly, to the year 1770, no American composers had contributed to New England psalmody. Though numerous singing-books had appeared, they were compiled from the English collections and reprinted. The first composer of church music in America was William Billings, born at Boston, Oct. 7, 1747. He was the son of poor parents, and followed tanning for an occupation. Gould, in his "History of Church Music," says of him:--
"Billings was somewhat deformed in person, blind in one eye, one leg shorter than the other, one arm somewhat withered, with a mind as eccentric as his person was deformed. To say nothing of the deformity of his habits, suffice it, he had a propensity for taking snuff that may seem almost incredible, when in these days those who use it are not very much inclined to expose the article. He used to carry it in his coat-pocket, which was made of leather; and every few minutes, instead of taking it in the usual manner, with thumb and finger, would take out a handful and snuff it from between his thumb and clenched hand. We might infer from this circumstance that his voice could not have been very pleasant and delicate."
"Billings was somewhat deformed in person, blind in one eye, one leg shorter than the other, one arm somewhat withered, with a mind as eccentric as his person was deformed. To say nothing of the deformity of his habits, suffice it, he had a propensity for taking snuff that may seem almost incredible, when in these days those who use it are not very much inclined to expose the article. He used to carry it in his coat-pocket, which was made of leather; and every few minutes, instead of taking it in the usual manner, with thumb and finger, would take out a handful and snuff it from between his thumb and clenched hand. We might infer from this circumstance that his voice could not have been very pleasant and delicate."
This uncouth and eccentric tanner was the father of American church music, and of American choirs, concerts, and singing-schools as well. He wrote his first tunes on the boards of the tannery as he tended the bark-mill. He was a zealous patriot; and as Governor Samuel Adams was not only a still more zealous patriot, but devotedly attached to music, the[322]two became warm friends and at one time sang together in a choir, evidently much to the distress of Adams, as his companion had a stentorian voice. His association with Adams led him to the composition of songs of a patriotic and religious character, one of which, set to the tune known as "Chester," played an important part in rousing the martial spirit of the colonists. It runs as follows:--
"Let tyrants shake their iron rod,And slavery clank her galling chains;We'll fear them not, we'll trust in God;New England's God forever reigns."The foe comes on with haughty stride,Our troops advance with martial noise;Their veterans flee before our arms,And generals yield to beardless boys."
"Let tyrants shake their iron rod,And slavery clank her galling chains;We'll fear them not, we'll trust in God;New England's God forever reigns.
"Let tyrants shake their iron rod,
And slavery clank her galling chains;
We'll fear them not, we'll trust in God;
New England's God forever reigns.
"The foe comes on with haughty stride,Our troops advance with martial noise;Their veterans flee before our arms,And generals yield to beardless boys."
"The foe comes on with haughty stride,
Our troops advance with martial noise;
Their veterans flee before our arms,
And generals yield to beardless boys."
That the tanner had a sly humor of his own is demonstrated by the following instructions appended to one of his anthems which was performed in a concert:--
"We've met for a concert of modern invention;To tickle the ear is our present intention;The audience seated, expect to be treatedWith a piece of the best."And since we all agreeTo set the key on E,The author's darling keyHe prefers to the rest,The bass take the lead,And firmly proceed;Let the tenor succeed," etc.
"We've met for a concert of modern invention;To tickle the ear is our present intention;The audience seated, expect to be treatedWith a piece of the best.
"We've met for a concert of modern invention;
To tickle the ear is our present intention;
The audience seated, expect to be treated
With a piece of the best.
"And since we all agreeTo set the key on E,The author's darling keyHe prefers to the rest,The bass take the lead,And firmly proceed;Let the tenor succeed," etc.
"And since we all agree
To set the key on E,
The author's darling key
He prefers to the rest,
The bass take the lead,
And firmly proceed;
Let the tenor succeed," etc.
In 1770 his first compositions appeared in a work of one hundred and eight pages entitled "The New England Psalm Singer; or American Chorister. Containing a number of Psalm Tunes, Anthems, and Canons. In four and five parts. (Never before published.) Composed by William Billings, a native of Boston, in New England. Matt. xii. 16, 'Out of the mouth of Babes and Sucklings hast thou perfected Praise;' James v. 13, 'Is any merry, let him sing Psalms.'
'O, praise the Lord with one consent,And in this grand designLet Britain and the ColoniesUnanimously join.'
'O, praise the Lord with one consent,And in this grand designLet Britain and the ColoniesUnanimously join.'
'O, praise the Lord with one consent,
And in this grand design
Let Britain and the Colonies
Unanimously join.'
Boston: New England. Printed by Edes and Gill."
In the preface to this work he quaintly says:--
"To all Musical Practitioners."Perhaps it may be expected by some, that I could say something concerning rules for composition; to these I answer thatNature is the best Dictator, for all the hard dry studied rules that ever were prescribed will not enable any person to form an Air any more than the four and twenty letters, and strict Grammatical rules will qualify a scholar for composing a piece of Poetry, or properly adjusting a Tragedy without a Genius. It must be Nature; Nature must lay the Foundation, Nature must give the Thought. But perhaps some may think I mean and intend to throw Art entirely out of Question. I answer by no Means, for the more Art is displayed, the more Art is decorated. And in some sorts of composition there is dry[324]Study requir'd, and Art very requisite. For instance, in a Fuge. But even there Art is subservient to Genius, for Fancy goes first, and strikes out the Work roughly, and Art comes after and polishes it over. But to return to my Text: I have read several Authors' Rules on Composition, and find the strictest of them make some Exceptions, as thus, they say that two 8vosor two 5thsmay not be taken together rising or falling, unless one be Major and the other Minor; but rather than spoil the Air, they will allow that Breach to be made, and this Allowance gives great Latitude to young Composers, for they may always make that Plea, and say, if I am not allowed to transgress the Rules of composition I shall certainly spoil the Air, and cross the Strain that Fancy dictated. And indeed this is without dispute, a very just Plea, for I am sure I have often and sensibly felt the disagreeable and slavish Effect of such Restraint as is here pointed out, and so I believe every Composer of Poetry as well as Musick, for I presume there are strict Rules for Poetry, as for Musick. But as I have often heard of a Poetical License I don't see why with the same propriety there may not be a musical License, for Poetry and Musick are in close Connection, and nearly allied besides they are often assistants to each other, and like a true friend often hide each other's feelings. For I have known a Piece of Poetry that hath neither Rhime nor Reason in it, pass for tolerable good sense because it happened to be set to an excellent Piece of Musick, and to get Respect rather for its good Fortune in falling into such respectable company than for any Merit in itself: so likewise I have known and heard a very indifferent Tune often sung and much caress'd, only because it was set to a fine Piece of Poetry, without this recommendation, perhaps it would not be sung[325]twice over by one Person, and would be deemed to be dearly bought only at the expense of Breath requisite to perform it."For my own part, as I don't think myself confined to any Rules for Composition laid down by any that went before me, neither should I think (were I to pretend to lay down rules) that any who comes after me were any ways obligated to adhere to them any further than they should think proper; so in fact I think it is best for every composer to be his own learner. Therefore upon this consideration, for me to dictate, or pretend to prescribe Rules of this Nature for others, would not only be very unnecessary but also a very great piece of Vanity."
"To all Musical Practitioners.
"Perhaps it may be expected by some, that I could say something concerning rules for composition; to these I answer thatNature is the best Dictator, for all the hard dry studied rules that ever were prescribed will not enable any person to form an Air any more than the four and twenty letters, and strict Grammatical rules will qualify a scholar for composing a piece of Poetry, or properly adjusting a Tragedy without a Genius. It must be Nature; Nature must lay the Foundation, Nature must give the Thought. But perhaps some may think I mean and intend to throw Art entirely out of Question. I answer by no Means, for the more Art is displayed, the more Art is decorated. And in some sorts of composition there is dry[324]Study requir'd, and Art very requisite. For instance, in a Fuge. But even there Art is subservient to Genius, for Fancy goes first, and strikes out the Work roughly, and Art comes after and polishes it over. But to return to my Text: I have read several Authors' Rules on Composition, and find the strictest of them make some Exceptions, as thus, they say that two 8vosor two 5thsmay not be taken together rising or falling, unless one be Major and the other Minor; but rather than spoil the Air, they will allow that Breach to be made, and this Allowance gives great Latitude to young Composers, for they may always make that Plea, and say, if I am not allowed to transgress the Rules of composition I shall certainly spoil the Air, and cross the Strain that Fancy dictated. And indeed this is without dispute, a very just Plea, for I am sure I have often and sensibly felt the disagreeable and slavish Effect of such Restraint as is here pointed out, and so I believe every Composer of Poetry as well as Musick, for I presume there are strict Rules for Poetry, as for Musick. But as I have often heard of a Poetical License I don't see why with the same propriety there may not be a musical License, for Poetry and Musick are in close Connection, and nearly allied besides they are often assistants to each other, and like a true friend often hide each other's feelings. For I have known a Piece of Poetry that hath neither Rhime nor Reason in it, pass for tolerable good sense because it happened to be set to an excellent Piece of Musick, and to get Respect rather for its good Fortune in falling into such respectable company than for any Merit in itself: so likewise I have known and heard a very indifferent Tune often sung and much caress'd, only because it was set to a fine Piece of Poetry, without this recommendation, perhaps it would not be sung[325]twice over by one Person, and would be deemed to be dearly bought only at the expense of Breath requisite to perform it.
"For my own part, as I don't think myself confined to any Rules for Composition laid down by any that went before me, neither should I think (were I to pretend to lay down rules) that any who comes after me were any ways obligated to adhere to them any further than they should think proper; so in fact I think it is best for every composer to be his own learner. Therefore upon this consideration, for me to dictate, or pretend to prescribe Rules of this Nature for others, would not only be very unnecessary but also a very great piece of Vanity."
His second work was the "Singing Master's Assistant," an abridgment and revision of his first. His humor again crops out in the following extract from its preface:--
"Kind reader, no doubt you remember that about ten years ago I published a book entitled 'The New England Psalm-Singer;' and truly a most masterly performance I then thought it to be. How lavish was I of encomium on this my infant production! 'Welcome, thrice Welcome, thou legitimate Offspring of my brain, go forth my little book, go forth and immortalize the name of your Author: may your sale be rapid and may you speedily run through ten thousand Editions,' said I, 'Thou art my Reuben, my first born; the beginning of my Strength, the Excellency of my Dignity, and the Excellency of my power.' But to my great mortification I soon discovered it was Reuben in the sequel, and Reuben all over; I have discovered that[326]many pieces were never worth my printing or your inspection."It is the duty of Christians to praise God publicly by singing of psalms together in the congregation, and also privately in the family. In singing of psalms the voice is to be audible and gravely ordered; but the chief care must be to sing with understanding and with grace in the heart, making melody unto the Lord. That the whole congregation may join therein, every one that can read is to have a psalm-book, and all others not disabled by age or otherwise are to be exhorted to learn to read. But for the present, where many in the congregation cannot read, it is convenient that the minister or some fit person to be appinted by him and the other ruling officers, do read the psalms line by line, before the singing thereof."
"Kind reader, no doubt you remember that about ten years ago I published a book entitled 'The New England Psalm-Singer;' and truly a most masterly performance I then thought it to be. How lavish was I of encomium on this my infant production! 'Welcome, thrice Welcome, thou legitimate Offspring of my brain, go forth my little book, go forth and immortalize the name of your Author: may your sale be rapid and may you speedily run through ten thousand Editions,' said I, 'Thou art my Reuben, my first born; the beginning of my Strength, the Excellency of my Dignity, and the Excellency of my power.' But to my great mortification I soon discovered it was Reuben in the sequel, and Reuben all over; I have discovered that[326]many pieces were never worth my printing or your inspection.
"It is the duty of Christians to praise God publicly by singing of psalms together in the congregation, and also privately in the family. In singing of psalms the voice is to be audible and gravely ordered; but the chief care must be to sing with understanding and with grace in the heart, making melody unto the Lord. That the whole congregation may join therein, every one that can read is to have a psalm-book, and all others not disabled by age or otherwise are to be exhorted to learn to read. But for the present, where many in the congregation cannot read, it is convenient that the minister or some fit person to be appinted by him and the other ruling officers, do read the psalms line by line, before the singing thereof."
Billings's other publications were "Music in Miniature," "Psalm Singers' Amusement," "Suffolk Harmony," and "Continental Harmony." Though the crudest of musical works, for he was entirely unacquainted with harmony and musical rules, they had an immense influence. He was the pioneer, and the path he cleared was soon crowded with his successors. The most prominent of these were Andrew Law, born at Cheshire, Conn., in 1748, who published many books and taught in most of the New England States; Jacob Kimball, born at Topsfield, Mass., in 1761, who published the "Rural Harmony;" Oliver Holden, of Charlestown, Mass., who published the "American Harmony," "Union Harmony," and "Worcester Collection," and wrote the favorite tune "Coronation;" Samuel Holyoke,[327]born at Boxford, Mass., in 1771, author of the "Harmonia Americana" and "Columbian Repository;" Daniel Reed, born at Rehoboth, Mass., in 1757, who published the "American Singing-Book" and "Columbian Harmony;" Jacob French, born at Stoughton, Mass., in 1754, who issued a work entitled "Harmony of Harmony;" Timothy Swan, born at Suffield, Conn., in 1757, who published "Federal Harmony" and "New England Harmony," and wrote the familiar tunes "Poland" and "China;" John Hubbard, who wrote many anthems and treatises on music; Dutton, of Hartford, Conn., who issued the "Hartford Collection," and wrote the tune of "Woodstock;" Oliver Shaw, born at Middleborough, Mass., in 1799, who was totally blind, but became a very successful teacher and composer. Gould says that his compositions were "truly original," and one of them, "There's Nothing True but Heaven," was repeated night after night by the Boston Handel and Haydn Society.
The era of psalm composers was followed by that of the singing-school teachers, who exerted a mighty influence upon sacred music and musical taste. At the same time numerous societies were organized, among them the Handel and Haydn Society of Boston, which was born April 20, 1815, and still exists,--a vigorous growth from the little gathering which gave its first concert on Christmas, Dec. 25, 1815, singing the first part of "The Creation" and selections from Handel's works, and was pronounced[328]by an enthusiastic critic of that time "the wonder of the nation." The great singing-teachers were Thomas Hastings of Washington, Conn., Lowell Mason of Mansfield, Mass., Nathaniel D. Gould of Chelmsford, Mass. Still later came George F. Root, Woodbury, Dyer, Bradbury, Ives, Johnson, and others, whose labors, both as composers and teachers, are familiar to all lovers of sacred music even at this day. The old-fashioned singing-school, however, has disappeared. The musical convention still survives in rural places. The great festivals, oratorio societies, the modern concert stage, even the opera, have all had their effect upon sacred music. The paid choir of professional musicians marks a long departure from the robust Puritan psalm-singers; its music is equally remote from the jingling tunes of Billings which "tickled the ears" of the colonists.