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''
UNIVERSITY OF MICHIGAN
SCHOOL OF MUSIC
MUSIC EDUC. D.PT. LIBRARY
DLA
.
A
То
SIR GEORGE MACFARREN, KT., M.A., Mus.D.,
PROFESSOR OF MUSIC IN THE UNIVERSITY OF CAMBRIDGE, AND PRINCIPAL
OF THE ROYAL ACADEMY OF Music.
With the Affection and Esteem of
A PUPIL.
STUDIES IN
WORSHIP MUSIC
(SECOND SERIES.)
BY
JOHN SPENCER CURWEN,
Member of the Royal Academy of Music, Associate of the Philharmonic Society;
Member of the Musical Association ; President of the Tonic Sol-fa College.
" The Church wishes for worship in music, but not for the worship
of music.” — FATHER HABERL, at the St. Cecilia Congress at
Mainz, 1884.
i London:
J. CURWEN & SONS, 8, WARWICK LANE, E.C.
Pator THKEL SHILDINGS.

OI
REDVOM, UT. Sub Sub
.
ulil. Til
EUS?;... .....
-----
M45!
ML
3131
09811
1885

STUDIES IN WORSHIP MUSIC.
(FIRST SERIES.)
Price 58.
LONDON : J. CURWEN AND SONS, MUSIC PRINTERS, PLATSTOW, E.
مع زمر نار
9:
720.
816041885
PREFACE.
THIS Second Series of “Studies in Worship Music"
embodies the result of work in this field of enquiry since
the issue of the First Series, five years ago. In the
truest sense of the word the preparation of these papers
has been to me "Study." I have, while investigating,
enlarged my own knowledge and sympathies, and I hope
that these pages will convince the reader, as they have
convinced me, that light is shed upon this great subject
of applying music in aid of worship from the most
distant and unexpected quarters.
The papers which deal with the work of Rev. T.
Helmore, Dr. Bridge, Dr. Stainer, and Dr. Steggall have
had the advantage of revision by these gentlemen. The
information given in the article on Russian Church
Music I obtained at first hand, and in the papers on
Morarian and German Protestant Church Music I have
to acknowledge the help of several German friends who
have read the proofs and made suggestions.
J. S. C.
FOREST GATE, LONDON, E.
November, 1885.
INDEX,
190
...
.
196
41
50
PAGE.
PAGE
Abbey, Westminster .
Clergy and Music ... ... 95
A capella singing ... ... 137 | Clerks in minor orders ... 114
American contrivances ... 200 | Colls., Theological, & Music, 95
American Hymn-tunes ... 39 ) Competitions, Sunday-sch. 183
Anglican Service, The ... 144 Conference at Nuremberg 151
An old Chorister ... ... 50 Congregational Singing ...66, 80
Antiphonal Hymn-singing,41, 68/ Cup of covenant ... ... 60
Currenden Choirs ... ... 141
Bach: Church Cantatas ... 140 | Cutts, Mr.
... ... ... 27
Bands, Sunday-school 196, 198
Baur, Dr., German ... ... 160 Denmark, Church Music in 147
Becker, Herr Th. ... 126, 130 Dispersed Choir, A ... ...70, 8+
Beck, Herr Pfarrer ... 142 Drum and Fife Bands ... 198
Beecher, Henry Ward
Drum, The big... ... ... 25
Booth, Mr. Herbert... 26
Boys shouting ... ... 175
Eastern Church Music 44
Brass Bands ... ...
Expression... ... ... ... 192
Bridge, Dr. ... ...
Expressive Singing ... ...
Burton, Daniel ... ...
Feaston, Rev. J. T.... ...
Cecilia, St., Society of ...
Figured Music ... ... ... 75
Central Choirs ... ... ... 193
| Free Church Colleges ... 103
Chanting ... ... ... ...34, 83
Fulneck ... ... ...
Chapel Royal, The ...
Children's Church Music,
German ... ... ... 136
Germ. Protestant Ch. Music, 121
Choir and Congregation ... 125
Gospel Singers... ....
Choirmaster and Organist 118
Greek Church Music ...
Choir rows ... ... ...
92
Choirs, German ... ... 134 “ Happy Family, The ” ... 25
Choirs, their use ... ... 83 Harmonies of hymn-tunes 81
Choirs, the management of 112 Harmoniums ... ... 180, 195
Choral, The German 128, 133
Helmore, Rev. T. ... ... 3
Chorister, An old ... ... 50 - Helmsley" ... ... ... 35
Choristers, Admission of... 115 Holland, Church Music in 149
Chorus Choirs... ... ... 114 Home, Sacred Music at ... 140
Church and Sunday-school 194 Horns, The ... ... ... 60
Church Choirs ... ... ... 112 Hymn-books, Sunday-school, 168
Church Music, Lectures on 109 Hymns, Character of ... 190
Church of England Colleges, 1001 , power of, over children, 189
Clemmens, Rev. Mr. ... 61 » Sunday-school... ... 176
64
74
57
1
INDEX.
SX
Qur
122
32
27
PAGE
PAGE
Inspectors of Singing ... 193 | Precentors, Letters from...
Instrumental accomp. ... 180 Presbyterian Ch. Music...
l'salms versus Hymns ...
James's, St., Chapel Royal Purcell, Henry... ... ...
Jeykll, Mr. ... ... ...
Puritan and Ritual ... ...
Köstlin, Dr. ... ... ... 126 Responses...
Krause, Herr Th. ... ... 138 Rhythmic Choral, 129, 132, 157
Russian Church Music ... 44
Law, Rev. W. ... ... ... 115
Leading the singing ... 182 St. Cecilia Movement ... 71
Leipzig, Service at
St. Paul's Choir School ... 11
Leipzig, St. Thomas Ch.... 140 Salvation Army, Music of the, 24
Lincoln's Inn Chapel ... Sankey, Mr. ... ... ... 38
Loud singing ......... 146 Sermon by Dr. Baur ... 160
Love Feast, Moravian ... 60 Sewell, Rev. W. H.... ... 115
Lozells Chapel Psalmody 64 Shawe, Rev. Mr. ... ... 61
Luther on Church Music... 124 Singing Meetings ... ... 63
Smoking Concert, A .. 155
„Macfarren, Sir Geo....
Soft Singing ... ...
Management of Choirs ... 112 Stainer, Dr. ... ... ...
Martin, Dr. ... ...
Steggall, Dr. ... ... ... 32
Pierritt, Mr. Geo. ... ... Sullivan, Sir A... ...
Methodists ... ...
Sunday-school Music
Ministers and Music
Practices 173, 188
Missionary Colleges ... 101
Singing ... 203
Monk, Dr. W. H. ...
Moody-Sankey Music
Theological Schls., Mus. in 95
Moravians, Among the ... Tunes, Sunday-school ... 180
Motet, The German ...
139
Unaccompanied Singing... 87
Negro Camp Meeting ... 31 Unison Singing ... .. 129
Nicholas, Mr. ... ... ... 67
Nuremberg, A Festival at 151 Vienna, Church Musicin... 149
Voice Exercises ... 3, 8, 12
Organ, The ..
Organ accompaniments ... War Cry, The ... ... ... 2+
Organ Galleries ... ... 19 Welsh Psalmody Festival 17
Westminster Abbey Choir 7
Palestrina ... .
Paul's, St., Choir School... Zürich, Church Choir at... 135
Pittman, Mr. Josiah
37 | Zwingli ... ... ... ... 122
11
ODI
:::::
165
95
57
36
STUDIES IN WORSHIP MUSIC.
THE CHAPEL ROYAL.
As we step into one of the substantial but very modern
houses in St. George's Square, Pimlico, to pay a visit to
the “children of the Chapel Royal” and their “Master,"
the present-day surroundings appear out of keeping with
an establishment that goes back to the middle ages. For
the children of the Chappelle” have been attached to
the court time out of mind, and they have always had a
“Master of Songe” to teach them. In strictness this
establishment belongs to no particular place, but is bound
to attend the sovereign wherever he may be resident.
There are proofs of this in the records of Henry VIII's
reign, and in later times George IV used to command the
attendance of a select choir of the “gentlemen and children”
at Brighton. Originally the children, eight in number, were
boarded and lodged at the Royal Palace, and, as the records
tell us, had daily amongst them “two loaves, one messe of
greate meate, ij galones of ale," &c. They were allowed
one servant among them, sto trusse and beare their
STUDIES IN WORSHIP MUSIC.
---
-
harnesse and lyverey in Courte.” They also had 4d. a
clay for horse hire when on a journey with the “King's
Chappelle." And when they came to be eighteen, and their
yoices changed, then “yf they will assente the King
assygnethe them to a College of Oxeford or Cambridge of
his foundatione, there to be at fynding and studye both.
suffytyently, tylle the King may otherwise advaunce them.”
The power to press singers for the service of the court
existed as far back as the time of Richard III, probably
earlier. An old document empowers the proper authority
" that within all places in this our realme, as well
Cathedral-churches, colleges, chappels, houses of religion,
and all other franchised and exempt places, as elliswhere,
our College Roil at Wyndesor reserved and except, may
take and sease for us and in our name all such singing
men and children, being expart in the said' science of
music, as he can finde, and think sufficient and able to do
us service.”
It requires an effort to dismiss all the picturesque
suggestions of this quaint record, and look round the hall
of the comfortable nineteenth century house in which we
find ourselves landed. The boys, probably to their ad-
vantage, long ago ceased to live at the Palace, and they
now enjoy the quiet home-life of a private house, under
the wing of their “Master," Rev. Thomas Helmore, who
has held his office for nearly forty years.
Picture, then, the little party gathered in this front
basement room of the St. George's Square house. Down
each side of the table sit the ten boys, dressed in a
uniform of navy blue, with red cord stripes to the
trousers, and crown buttons. At one end of the table Mr.
Helmore is seated, and the daily hour of practice-5.30
to 7. p.m.— is about to begin. One boy leaves his
place to go to the pianoforte, and the exercise opens with
THE CHAPEL ROYAL.
slow scales, sung to a light accompaniment. This is
followe:l by rapid runs, the key gradually rising until the
highest note touched is the C above the treble staff.
"Ah" is the vocable used. This " tuning up” over, the
boys stand around Mr. Helmore, and sing some Time
exercises and Solfeggios from a series of small charts
mounted on wood which he holds, one by one, in his
hands. For this work, sol-faing by the fixed do is used,
each boy beating time with his finger. The boys are
very ready with theory, as the visitor, who puts them
some questions, soon finds. Mr. Helmore is a thorough
and laborious teacher. He not only attends to strictly
musical points. “New boys,” he says, “nearly always,
while they are singing, either frown, or hold their heads
on one side.” And in illustration of the truth of this
remark, he points to the newest boy, and rubs the wrinkles
from his forehead, calling our attention to the upright
heads and bright faces of the rest of the class.
The boys do some pointing out of notes with their own
left hands representing the staff, and then begin to
practise the service music for the following Sunday. The
Psalms for the day are first gone over, the boys singing
for the most part one by one. This plan is very thorough.
It tests, in a searching way, the ability of each boy, and
the critical faculty of the listeners is kept alive from first to
last. Mr. Helmore watches the work keenly, joining in
from time to time in a sonorous tenore robusto, which must
have seen great days. The remainder of the service
music is next rehearsed.
Afterwards the boys let the visitor hear the graces
which they sing before meat, first the ordinary grace,
next the Friday grace, and last the Sunday grace. The
old canon “Non nobis Domine,” which they sing after
dinner on Sundays, is, like the rest of these pieces, in
STUDIES IN IVORSHIP MUSIC.
three parts, and sounds very full and harmonious. Then
comes some music sung as relief from more severe exercises
-the round, "Wind, gentle evergreen, and Mendelssohn's
"Lift thine eyes,” both pieces showing, in phrasing and
expression, the careful training which the boys receive.
Mr. Helmore manages his « children” on the monitor
system, four of the boys belonging to that grade, and four
others being their fags. This system has always obtained,
and up to quite recent times the fags had to black their
own boots and those of their Lords. The boys attend the
Church Middle Class School at Vauxhall, and go to Battersea
Park for cricket and football. They are all sons of
London parents, and twice a week they have a half
holiday, and go home to their friends. Besides their duty
at the Chapel Royal, they sing at the old Madrigal Society,
the Western Madrigal Society, and in the Bach Choir.
Once a year, on Maundy Thursday, they, and the “gentle-
men of the Chapel Royal” go to the large Chapel Royal
at Whitehall to join in the service. But the Whitehall
choir is quite distinct, and it is only the St. James's
Choir that comprises, par excellence, “the gentlemen and
children of the Chapels Royal.”
On Sundays the boys appear at the Chapel Royal in a
gorgeous uniform. A long tunic of scarlet cloth, reaching
below the knees, profusely braided with gold lace, white
bands under the chin, red breeches, dark blue stockings,
and a trencher cap. This is somewhat toned down by
the surplices worn in Divine service. This uniform dates
from the time of William of Orange, when great changes
in such apparel were made. The tunics are doubtless
substitutes for the more ecclesiastical red cassock.
Many good musicians have been reared from the choir
boys of the Chapel Royal, among whom the most
THE CHAPEL ROYAL.
5
prominent at present living is Sir Arthur Sullivan. He
was a choir boy from 1854 to 1857, and during this period
composed several anthems which were sung at the Chapel.
The story goes that after the performance of his first
anthem the Dean called him into the vestry, and gave
him half a sovereign. Dr. E. J. Hopkins, of the Temple
Church, was also a chorister here.
The Chapel of St. James's Palace is a small room, the
shape of a double cube, with little galleries at the sides,
and the Royal Closet, in three compartments, at the end,
and two rows of Collegiate seats on each side running
along the length of the building. There are seats
altogether for about fifty people. The seats on one side
are for members of the House of Commons, and on the
other for members of the House of Lords. The Chapel
is strictly private, but there is accommodation in the
chancel and centre for some twenty-four visitors, who are
admitted as friends of the Dean, Sub-Dean, and Priest in
waiting, or by orders from the Lord Chanberlain's office.
Application for these should be made some days before the
The place is generally favourable for sound :—the shape
of the room, the old oaken wainscot which surrounds it,
the position of the choir, which is brought well forward.
On the other hand, the galleries and Queen's closet cause
a loss of resonance. The organ is sunk in a side wall, and
being close to the singers, Mr. Jeykell, the organist, is
able to preserve sharp and decisive time. On each side of
the aisle stand five boys and three or four men (alto, tenor,
and bass), so that the full choir consists of eighteen mem-
bers all told. But the voices are picked, and the room
is small, so that the effect is fully adequate. Indeed, the
sound made by this landful of resonant voices is
STUDIES IN WORSHIP MUSIC.
sometimes astonishing. The congregation are placed so
near that it is like listening to a performance in one's
drawing-room. Service takes place thrice on Sunday,
and each time there is more or less singing. Most
impressive, and sometimes most thrilling is the music of
this service. The choir contains the best Church singers
in London, and their efforts stir most powerfully the
worshipful feeling in all hearers.
THE WESTMINSTER ABBEY CHOIR.
THE “music room ” in which the Westminster Abbey
Choir boys are taught and rehearsed opens directly from
one of the cloisters, near Dr. Bridge's house. It is small
but lofty, with an arched roof, by no means a bad room
for sound. Standing at the entrance we face a small
organ placed against the further wall. It belongs to Dr.
Bridge, and is useful now and again for accompanying.
To the right hand is the fireplace, over which hangs a
time-stained engraving of Henry Purcell, the greatest of
the long line of Abbey organists; surely the greatest also
of the sons of musical England. Between us and the
organ there run two long standing desks down the length of
the room, with a broad aisle between them. At the time of
our visit the evensong has just ended, and the boys,
doffing their surplices in the Abbey, have found their
way to the music room for afternoon practice. They are
now standing, ten of them at each desk, waiting for Dr.
Bridge to begin his work. The desks both face the same
way, and Dr. Bridge, as he sits at the cottage piano, turns
a side glance full upon his little men, looking trim and
orderly in their double rank.
The Choir House, in which the boys live, is within the
Abbey precincts, and was once inhabited by the statesman
William Pitt. Here the boys receive a general education
from a resident schoolmaster, whose wife undertakes the
housekeeping. According to the usual custom, they get a
STUDIES IN WORSHIP MUSIC,
free education and keep in return for their singing. The
duty includes two services every week day, and three on
Sundays. But on Wednesdays the boys have a half
holiday, the music being sung by the men alone. This
half-holiday, a recent institution, seems likely to give rise
to a new form of English Church Music-anthems for
men's voices. There are one or two anthems available in
this form by Jackson of Masham; and others, still in MS.,
have been written for the Abbey by Mr. H. Guy, Mr.
J. E. West, &c. Dr. Bridge does not approve of re-arranging
Anglican Chants in close harmony. He makes the men
sing the melody in unison, and finds Dr. E. J. Hopkins's
Unison chants admirably suited to this purpose. On
Fridays the whole service is performed without the organ.
Dr. Bridge is with the boys every morning from 9 to
10; this time is spent in getting up the service-music.
The afternoon practice, which he has only of late
established, is devoted chiefly to theoretical work. There
is a card hanging above the mantelpiece in the choir room,
showing exactly how the time of each afternoon's practice
is apportioned between the study of Intervals and Scales,
Chanting, Responses, manuscript exercises, the singing of
Concone's Solfeggios, and the practice of secular music.
Conversation stops as Dr. Bridge suddenly enters, and
in his incisive but pleasant manner sets the boys to work.
They begin with some voice exercises for flexibility and
extension by Dr. Stainer, which are sung to a light
accompaniment on the piano. Following these come a
few of Concone's pretty Solfeggios, the boys sol-faing
(fixed do) from book, and each beating time with his
hand. The singing is exceedingly graceful and pure in
tone. As a rule, in cathedral choirs, power is a leading
consideration ; this of necessity, because of the size of the
buildings in which they have to sing. The Abbey is
THE JVESTMINSTER ABBEY CHOIR.
9
smaller, and carrying power is not so important; hence
sweetness and phrasing can be cultirated.
No doubt some of the admirable style of the Abbey
boys comes also from their occasional practice of secular
music. They learn trios; occasionally they practise a
cantata for equal voices, and this change from the heavier
manner of sacred music gives elasticity and gentleness to
their voices, besides adding to their interest in musical
studies. No formal system of voice training is in use.
There is no time for much individual attention to the
boys. A good style having become the tradition, the
younger boys insensibly imitate the elder ones, and thus
maintain it. Dr. Bridge takes boys from the ages of 9 to
101, not older. Twenty boys is the full number; of
these only twelve are full choristers. Over the heads of
the rest it is found convenient to have a sentence of
possible dismissal hanging, though the sentence is
practically inoperative. “I have been a choir-boy
myself,” says Dr. Bridge, as we talk over the matter of
discipline with him, “and I know all about the tricks of
the trade. Once I did dismiss a boy. It was soon after
service is unaccompanied. I was sitting in the choir
stalls, and saw that one of the boys was singing nonsense
in order to make the others laugh, a very old trick. I
dismissed him when the service was over. Dean Stanley
thought I was harsh, and wanted the boy taken back, but
I stuck to my point, and the Dean gave way. Since
then, I am glad to say, I have had no further need to
give even serious reproof to a boy. And I will say for
the boys that they behave well in church, which is a
great point.” There is a speaking-tube from Dr. Bridge's
house to the music room, and any loud noise can be heard
in Dr. Bridge's study. If one of Dr. Bridge's assistants
10
STUDIES IN IVORSHIP MUSIC.
should be giving the boys a lesson, and the discipline
should be lax, a few words coming down the speaking-
tube are said to have a remarkable effect. Dr. Bridge
evidently preserves discipline, not by frightening the boys
—their merry faces and free bearing show this—but by
the animation and rapidity of his teaching, which leave
them no time to play. He has an amusing exercise for
them, half play, half work, which he calls “stepping the
scale.” A boy is singled out to walk down the passage
between the music stands, each step representing a note
of some scale, beginning always on C. The puzzle is
where to make the half steps which represent the
semitone. The victim steps gingerly, and hesitates
sometimes for a long time, the other boys peeping over
their desks with mischievous faces to see if he does it
right, or, better still, to see if he does it wrong.
The practice proceeds; the boys sing Dr. Bridge's fine
“Hymn to the Creator," one of them taking the soprano
solo with a pure and true tone that is sometimes quite
thrilling. In this piece the smooth cantabile and shapely
phrasing of the boys is marked.
Dr. Bridge discourses with enthusiasm on Purcell's
music, so old and yet so new, so true in heart and spirit
that it can never die. The mine of its wealth is as yet
by no means exhausted, and the Abbey is proud in the
musical conservatism which, while moving with the
present, holds the past in great regard.
THE CHOIR-SCHOOL AT ST. PAUL'S.
In a narrow
street in Doctors'-commons there stands
building that in appearance hardly betrays its purpose.
Doctors'-commons, as most people know, is at the south-
west corner of St. Paul's Churchyard, and is approached
through an archway. Under this arch we are not
passing in company with Dr. Martin, the sub-organist and
choir-master of the metropolitan Cathedral. A few steps
forward, a sharp turn to the right, and we are at the door,
through which a boy wearing a trencher cap has just
dired before us. The Cathedral bell is striking two, and
in the passage boys scud to and fro shouting “Practice!”
and racing to their places in the schoolroom. This is a
fair-sized room on our right, well lighted from the street
through windows of ground glass. The boys sit with
their backs to the windows, at three rows of desks, and
they look towards a noble fire-place, with their lockers
flanking it along the wall on either side. In the corner
to their left is a grand pianoforte—a Broadwood whose
hollowed keys show long service, and at this Dr. Martin
takes his seat. The discipline is perfect. In complete
silence the boys, about forty in number, stand waiting
for the signal to begin their exercise. The jacket and
12
STUDIES IN IVORSHIP MUSIC.
trowsers of black shiny broad-cloth, and the white collar
turned over the jacket, give a neat and uniform appearance
to the choristers.
Now a chord is struck, and they begin. Slow scales,
sung to “ah,” come first, the range embracing two octaves
—from the C on the first leger line below the treble staff
to that on the second leger line above it. Each key
between C and Cl is taken, and the scale sung ascending and
descending. The tone emitted by these forty picked
voices is tremendously shrill. But, with all its shrillness,
there is none of the clatter of the forced “chest” register
so common with untrained boys. It is loud singing, but
not shouting. The scales are followed by what one may
call “ agility exercises,” rapid solfeggios, scaling and
leaping, sung again to “ah.” In the schoolroom the tone
during these exercises is overpowering. The high notes
make the ears crack and the furniture vibrate. In the
Cathedral all this power is needed to make an impression
upon the vast space. The boys work with a will. The
scene is animated; for most of them beat time as they
sing, and the energy of elbow and hand seems to lend
vigour to the voice. All these exercises are sung from
memory, Dr. Martin putting in a light chordal accom-
paniment. This is the daily "tuning up” of the vocal
band.
The voice exercises last about ten minutes ; then the
boys sit, and questions are asked, and instruction is given
on musical notation and theory. A blackboard with a
staff painted on it stands before the class, and one boy
after another is called up to write a scale, place a clef, or
write and bar a melody upon it. The educational value of
this exercise is great. As the chosen boy begins to write,
every other boy in the room becomes a critic, and if he
trips or fails, a dozen are eager for permission to go up
THE CHOIR-SCHOOL AT ST. PAUL'S.
13
-
and set him right. The questions asked are replied to by
the boy whom Dr. Martin chooses, generally from a score
of upraised hands.
The boys' voices are now rested, and practice," in
the strict sense of the word, begins. The boy who is
librarian quickly passes round the canticle which stands
first on the service list hanging framed upon the wall.
Continual singing has made the boys such good readers
that they seldom try a new piece more than three times
before it is heard at the Cathedral, and they sing to words
at sight, never sol-faing. As four canticles and two
S
it will easily be seen that there is little time to spare.
The boys sing away with vigour and promptness to Dr.
Martin's accompaniment, in spite of the long gaps in the
treble which occur when the music is fugal or broken.
They sit during rehearsal, except that they rise as they
sing the Gloria Patri at the close of each canticle.
This daily practice of an hour and a half is all the
musical instruction that the boys receive. The psalms
and hymns are but rarely rehearsed, as they are so
familiar. Now and then, if there is a tendency to hurry
the psalms at the service, it is corrected by a rehearsal,
but this is not often. The men belonging to the choir,
eighteen in number, attend a rehearsal with the boys once
a week. This is conducted, as a rule, by Dr. Stainer, the
principal organist, who also plays at the services on
Sundays and three days a week, Dr. Martin playing on
the other days.
The St. Paul's Choir House is really a high-class
boarding-school, at which the boys get board and
education free in return for their voices. There is a
14
STUDIES IN WORSHIP MUSIC.
other school. The rehearsal over, Dr. Martin takes us
over the place. On the ground floor is a good-sized
dining-hall, with the white cloths spread upon the tables,
and a smaller room, in which the music is stored, having
also three cells for separate pianoforte and violin practice.
Some of the boys learn these instruments. On the first
and second floors there are two long and airy bedrooms,
with an infirmary, head master's sitting-room, &c. Above
these we emerge upon a flat roof entirely cased overhead
with wire netting. This is the boys' playground. A lad
has reached it before us, and is whipping his top with the
same energy that he has just been throwing into Tallis
in D. As we stand on this high playground the air blows
freshly. Londoners say that there is always a stir of air
in St. Paul's Churchyard; if so there should, with
stronger reason, always be some here. The grey stones
of the Cathedral tower above us at one side; at another is
the top of the Dean's house; behind us the housetops fall
away to the river, with the masts of ships and the slate-
coloured water. The wire encasement allows the boys to
play whatever games they like; a football lying in one
corner betrays one direction of their taste.
I ask Dr. Martin if the boys' voices are ever injured by
too much singing, but he replies that he has never known
a boy to lose his voice or injure it from this cause. It is
a question of method; if the voice be used properly it
will stand any amount of work. The ages of the boys
range from eight to fourteen, but there are more of twelve
than of any other age. There are plenty of applicants
for admission to the choir, but not so many as there would
be if the vacancies were advertised. The boys are chosen
for the quality and strength of their voices.
The choir school has only been built about nine years.
Before that time the boys lived at home, and received
TIIE CHOIR-SCHOOL AT ST. PAUL'S.
15
their instruction in one of the canon's houses. The
temptations of a choir boy's life at that time were great.
were pressed to drink; they cultivated late hours. Many
of them succumbed in after life to the habits formed in
boyhood. Now all this is changed. The boys are
completely under control, and temptations are removed
from them. They get a half-holiday once a week, and
go home to their parents twice a year.
The musical influences of a choir boy's life are inval-
uable for cultivating the artistic temperament. Sir
George Macfarren has dwelt with strong emphasis upon
this point. He says:—"A cathedral choir is the best
cradle for a musician our country affords. I say this from
the conviction, many times confirmed, that, as an average,
by very far the best practical musicians—those I mean
whose musical readiness gives them the air of having
music as an instinct or a second nature, those who are
ever prompt with their talent to produce or to perform
without preparation at the requirement of the moment;
whose utmost ability is ever at their fingers' ends—are they
who have passed their art infancy in one of our ecclesiastical
arenas for constant practice. The very early habit of
hearing and performing music stimulates the musical
sense, and gives musical tendency to all the youthfully
supple faculties which bear upon the use of this sense.
The habit in almost first childhood of associating sight
with sound, written characters with uttered notes, the office
of the eye with that of the ear or of the voice, which is the
car's agent, does more in favourable cases to develop some
of the best essentials in an artist, than can be accom-
plished by the unremitting study of after life. I say
STUDIES IN WORSHIP MUSIC.
this feelingly; I had not the advantage to which I refer,
but I observe its influence upon the majority of others
whose talent claims my best respect.”
It must not be supposed that all choir boys choose the
musical profession. The fact is, that only a small
proportion do so. But Dr. Stainer is a striking example
of a St. Paul's choir boy who has risen to eminence in his
profession, and as one looks down the line of these
intelligent boys it is interesting to speculate how many
will leave their mark upon English music.
A WELSH PSALMODY FESTIVAL.
It is a lovely summer evening, and we are on a hill-side
in South Wales. The working-folk are gathering at the
door of the Calvinistic Methodist Chapel, standing outside
to chat, as country folk love to do. The day is Saturday,
and a rehearsal is about to be held for the Psalmody Festival
on the following Monday at Aberavon. This village of
Cwmavon (Coomavon), where we are, is prettily placed
half-way up the side of a broad valley. Away at our feet
stretches the low ground, rising in the near distance until
it swells farther off into the broad back of a mountain,
green and purple and black, dotted here and there with
white farm-houses, that look in the distance like
children's toys. When we come out at the close of the
rehearsal, what a fairy-like transformation has taken
place! The moon is up, and from the terrace in front of
the chapel we look upon a landscape clear and cold and
shadowy; haunted by weird shapes and dark outlines;
vague and unreal; pressing upon the senses like some
story of the supernatural.
It is an old saying that the character of men is moulded
by their physical surroundings. Kingsley has dwelt on
the mean spirit of the lowlander, compared with the
tenderness and truth of the mountaineer. The awe of
nature, he says, brings the awe of the unseen, and keeps
STUDIES IN WORSHIP MUSIC.
alive the sense of the beautiful. The reflection is
interesting, whether or not it is true. Character depends
upon moral forces and influences which are more potent
than rocks and torrents; and familiarity with noble
scenery too often breeds insensibility to its charms.
But the character of the Welsh people seems to lend
weight to this argument. There is in their religious life
an absence of surface display and "gush." Their
feelings are strong, and are often deeply moved; but the
roots of them lie far down, and their faith is firm and
satisfying. They do not seem to need the stimulus of
perpetual novelty, or a constant reinstatement of old
doctrines in new idioms, to attract them to public worship.
The Calvinistic Methodists are the strongest among the
Nonconformist bodies in Wales. Their church govern-
ment is Presbyterian, and the cast of their theology is
Presbyterian too, so that the use of the word “ Methodist”
conveys a wrong impression to the English ear. The
Psalmody Festivals are held yearly in nearly all the districts
into which Wales is divided by this body. Five or six
neighbouring congregations unite, and the festival is held
in the largest or the most accessible chapel of the district.
Sometimes the festivals are held in the open air.
It is the custom to engage a conductor for each festival.
At the present time two men practically divide this work
between them in Wales—Mr. John Thomas, a postmaster
at Llanwrtyd, and Mr. David Jenkins, Mus. Bac. Cantab.,
who was himself in early life a working man. Mr.
Jenkins conducted the Aberavon festival which I am
about to describe, and he tells me that he conducts about
fifty festivals, in various parts of Wales, every year.
The number of singers varies from 300 to 800.
The singers in the Aberayon district had been learning
the tunes and anthems prescribed for the festival for
A WELSH PSALMODY FESTIVAL.
19
several months, but they had had no united rehearsal.
Many of them walked long distances to Cwmaron on the
Saturday night, and the leader managed to conduct several
district practices on the Sunday between service hours.
On Monday morning long before ten o'clock the little
square chapel at Aberavon began to fill. The building
was of the plainest type. Perched against one wall was
the pulpit; round three sides ran the gallery, which made
the place look smaller than it really was. Every seat was
soon filled. The galleries were occupied by the singers.
On the left, looking from the pulpit, were the sopranos
and contraltos, young and middle-aged women, with a few
boys. On the right were the tenors and basses, strong
and healthy men, with brown faces and big hands, telling
of work at quarrying, tinplating, and mining. In England
our church choirs consist too exclusively of lads and girls.
Where are the middle-aged people? In Wales they have
both, and very great is the musical gain, to say nothing of
any other.
The promoters of these festivals are very careful to
prevent their assuming the character of concerts. They
are religious services not only in origin and intent, but in
fact. The duties of the conductor are more than merely
musical. He must be a man of religious life and thought,
able to speak what he feels. The leader began with some
remarks on the spirit of the service, and often in the
subsequent hymns he spoke of their character and proper
expression before giving the signal to start. Once or
twice he asked for a verse to be repeated "more tenderly,"
or “with more spirit," as the occasion demanded. The
festival had thus the style without the stiffness of an
ordinary service.
There were three meetings in the little chapel during the
the day : the first at ten, the second at two, and the third
20
STUDIES IN WORSHIP MUSIC.
at six. Each lasted about two hours, and at each six
or seven hymns, two anthems, and a chant were sung,
these being interspersed with one or two short addresses
and prayers. There was no sermon, and the whole of the
proceedings, except my own addresses, were in Welsh.
The congregation grew at each meeting, and while the
Old men and women with bent forms and feeble tread
crept to the chapel; the middle-aged people were there
too in large numbers, and the young people also, with a
few children. The proportion of men was quite as large
as of women, and the interest of every one was unfeigned.
The deep-toned voices of these Glamorganshire miners
and their vomen-folk have several times been heard in
London, and abler pens than mine have tried to fix and to
account for the singular impressiveness and emotional
appeal to the taste, this Welsh singing makes straight for
the heart, and plays upon the spirit like the sound of
storm or cataract. It calls up the class of emotions
which we associate with the word “grand." The singing
at Aberavon might have been compared in its heartiness
with the early Methodist Psalmody, but that, if we are to
believe Wesley, often degenerated into shouting, and,
moreover, was wholly in unison. This Welsh singing
was in parts, and the exceptional power of the bass voices
gare a richness to the harmony which nothing else can
give. Our English choirs, both in church and out, are
generally deficient in basses, and their singing sounds in
consequence thin and unsubstantial. These Welsh basses
have voices that make the furniture vibrate as they sound,
just as do the pedal stops of an organ. While they were
singing, especially in the loud passages, I could see the
sheet of paper I held in my hand tremble, and feel that
A WELSH PSALMODY FESTIVAL.
the pen on which my hand rested was shaking too. One
has often to complain in England that the organ drowns
the voices of the congregation, but an organ amid singing
of this kind would have a very small chance of being heard.
The singing has, nevertheless, in some respects an organ-
like effect. In our English psalmody the notes of three
beats' length which occur at the ends of lines are generally
cut short by the singers, but the Welsh have a way of not
only holding them on, but swelling upon them and
running them without break into the next line. Their
capacious lungs seem to need no pause for breath. The
soft passages are as impressive as the loud. It is only
strong lungs that can sustain a rich, soft tone, a chorded
murmur. I recall especially the long-drawn pianissimo at
the close of a funeral anthem, sung in memory of a
minister in the district who had died. The pure
intonation, so different from the tempered chords of an
organ, stole into the ear with perfect smoothness, and the
sound was like a wail of sorrow.
bereserve. Wis in Englantom which u
I have spoken of the Welsh as solid and grave in
manner; but at these festivals they are often deeply
moved. There is one custom which used to obtain among
the Methodists in England, and which the Welsh still
preserve. When the end of a hymn is reached, if the
temper of the congregation is rising, some one will start
the last four lines again, and they will be repeated with
growing fervour three, four, six, or even eight times.
Then it is that the strong emotional nature of the Celt is
stirred. Women sing with eyes fixed upon vacancy,
wholly lost in spiritual ecstasy, the tears filling their eyes,
the rocking to and fro of their bodies betraying the
inward tension. The men, though they conceal it, are no
less deeply touched. One feels the contagion of the
22
STUDIES IN TORSHIP MUSIC.
excitement as the voices of the singers tremble with
emotion. One of the hymns sung at this festival ended
with the words,
"Love prevailing, love prevailing,
Conquers now the wrath Divine.”
This is a close translation of the Welsh. Expressing the
very essence of the Calvinistic faith, this couplet was
sung over and over again, until the excitement was intense.
Yet it found no unseemly vent. The singing became
richer and richer in effect; no one screamed or gesticulated.
Yet the air was charged with electricity. It is at
times like this, that a foreigner, ignorant of the
language he is hearing, feels that worship is not verbal,
but spiritual, that words are a means only, and can be
dispensed with. Communion in this way may be as real
as if every word were understood.
The Welsh tunes are of a piece with the Welsh hymns
and the Welsh religious spirit. They show little or no
attempt at harmonic prettiness, but are built out of plain
material, of bold, rugged progressions, that, like Nature
herself, are never new and never old. Tunes that will
hold feeling, and last. A large proportion of the Welsh
tunes are minor, not daintily and briefly touching the
minor key, but beginning and ending in it and keeping in
it, modulating into other minor keys. In England the
popular taste seems to be against minor tunes; in
Wales the people like them best. The strange wailing
effect of the Welsh tunes is largely due to the preponder-
ance of minor harmony.
We have dwelt upon the musical effect of the Festival,
and have tried to analyse the sources of the impressiveness
of Welsh singing. But of course the first source is
spiritual. It is the religious training of the common people
A WELSH PSALMODY FESTIVAL.
23
in Wales that makes them loye psalmody and devote to it
their fine natural gifts as singers. To see the working-
folk flocking in numbers to the chapel, losing a day's work
thereby, and counting it all enjoyment, to see mistress
and maid standing side by side among the singers—this is
a sight which fills the heart with joy. We may depend
upon it that, if we can dispose the hearts of English
working-folk to the same end, we may emulate the Welsh
psalmody festivals. Our people have not such fine voices,
but the best way to improve the voice is to improve the
heart.
STUDIES IN WORSHIP MUSIC.
THE MUSIC OF THE SALVATION
ARMY.
Music, in the eye of the Salvation Army, is primarily a
bait to catch the common throng and bring them to the
Army services. It is an agent of devotion as well, but
its most striking use is in the streets. The Army is not
fettered by the limitations of any school of “sacred” or
of " church” music. The one question asked about a
tune is, “ will it go ?" If a street tune is found answer-
ing these conditions, a hymn for it is turned out by one of
the staff in a few hours, it appears in next week's War
Cry, and is soon being shouted over half the land. In
thus pressing the popular songs of the day into the
services of religion the Salvationists could, if they liked,
quote the authority of Luther; but with them the
authority of the Army is sufficient. The advantages of
using these popular melodies are obvious. First, they
are ear-catching tunes—their popularity proves that.
Then the people know them already; they have been
whistling them in the streets, hearing them sung at the
music-halls or churned out of barrel-organs. What the
Army wants is that the common folk who crowd their
barracks and halls shall listen and sing, and the battle is
half won if a tune which they already know and like is
started. There are four men at Headquarters, whose
THE MUSIC OF THE SALVATION ARMY. 25
business it is to keep a look-out for new tunes, write
- Arnıy” words to them, arrange them for brass bands,
and see them through the press. Thus the Army keeps
abreast of the devil, in the shape of the music-hall, and
robs him of all his best tunes with a promptness that
would have satisfied even Rowland Hill. The doctrine
that no music is to be used in worship but what has been
composed for worship is hardly tenable. Erery piece
must be judged upon its merits. There is innate flippancy
in some music, and innate reverence in other music, which
adheres to it whatever the character of its words. But
this is a point which the Salvation Army seem to have
overlooked.
In one respect the Salvation Army music is like their
services. It is lively. The drawl of other revivalists
has been avoided, and the praise of the latest form of the
Church militant is offered up at the pace of a quick
march. The style of the hymn of course counts for
nothing. “There is a fountain filled with blood” goes
like a jig, just as if it were one of the ordinary rallying songs
of the Army. This rhythmic singing is partly due to the
energy which characterises all the services, and partly
because the Salvationists live under the dispensation of
the big drum.
The use of instruments by the Army is recent. It
began with four men, a father and three sons, who went
by the name of “The Happy Family," and played a
quartet of brass instruments. The thing spread like
wild-fire, and now the authorities announce that hundreds
of Army brass bands have been formed, over 5,000
instruments having been sold from the stores during 1883,
at a cost of £19,000. The report of the Army for last
year says that this is
26
STUDIES IN WORSHIP MUSIC.
“ An event which must needs leave its influence on the future
musical history of the country, let alone that of the Army." .
No doubt this is true, but in a sense not intended by
the writer. Overblown brass instruments are an ear-
splitting abomination which distance only makes tolerable.
Already Mr. Herbert Booth tells me that it has been
found necessary to issue orders that the brass instruments
are not to drown the voices. One might as well put a
tiger into a sheep-fold and issue orders that it is not to
derour the sheep. We quote further from the report:-
" It is of course undeniable that many of these bandsmen are as yet
by no means professors of music. We prefer the rough and ready
playing of willing hearts—which indeed is the only music we allow-
to the most skilled performances of any other kind. The playing of
these bands has been made a great ground of complaint against us
everywhere ; but so far from being any sign of their being objection-
able, this is one of the surest evidences of their value. The simple
truth is that the band empties the public-houses far and near, that it
arouses the attention of every inhabitant, awakening of course the
enmity of every foe, and yet at the same time ensuring a hearing
for the Army from multitudes who would not come to hear it other-
wise."
The big drum is especially popular. The report tells
us that there are very few big drums belonging to the
Army on to which the poor people have not thrown
enough money in the open air this year to pay for them.
Rhythm is the first and lowest element of music, and the
big drum stirs the blood of the densest nature.
It is, of course, merely conventionalism which has
associated the organ with our worship music. The
proposition that no instruments are lawful in worship is
intelligible, but those who argue for the organ only speak
from prejudice, not principle. To admit one instrument
is to admit all. The best that can be said for the organ is
that it does not employ many persons, and that its
THE MUSIC OF THE SALVATION ARMY. 27
character accords with devotion. There is a passage on
this point in Mr. Cutts' “Scenes and Characters of the
Middle Ages,” which may be aptly quoted here :-
" The men of the middle ages were in some respects nuch more
real and practical, less sentimental and transcendental than we in
religious matters. We must have everything relating to divine
worship of different form and fashion from ordinary domestic
appliances, and think it irreverent to use things of ordinary domestic
fashion for religious uses, or to have domestic things in the shapes of
what we call religious art. They had only one art, the best they
knew, for all purposes, and they were content to apply the best of
that to the service of God. Thus to their minds it would not appear
at all unseemly that the minstrels who had accompanied the divine
service in chapel should walk straight out of chapel into the hall, and
tune their instruments anew to play symphonies or accompany
chansons during dinner, or enliven the dance in the great chamber in
the evening, no more unseemly than that their master and his family
should dine and dance as well as pray. . . The band of village
musicians with flute, violin, clarionet, and bass viol, whom some of
us have seen occupying the singing-gallery of some country church,
are the representatives of the band of minstrels who occupied the
l'ood-lofts in mediæval times.”
Sir George Macfarren, retracting an early expression of
opinion in favour of the exclusive use of the ancient
diatonic style of harmony in church music, gives utter-
ance to some words which may also here be quoted. They
were written long before the Salvation Army was heard of,
and bear no conscious reference to it. Yet they explain,
if they do not excuse, many of the musical proceedings of
the Army :-
" I reflected not that men in church were the same human beings
as the same men at home or at market or on the wayside. I failed
to consider that folks thought in the same language, felt from like
impulses, acted from similar emotions, whether they were in one
place or another, whether they interchanged ideas with their fellows,
ur addressed themselves to a higher Being. I overlooked the profound
28
STUDIES IN WORSHIP MUSIC.
truth that to be sincere one must be natural; and that thus, whatever
is assumed, if of form of speech or of melodious tones in which to
declaim it, is unnatural, artificial therefore, and consequently false.
The ordinary service of the Army is familiar to many.
As the time of commencement draws near, the attitude of
the spectators or audience is not devotional. The sale of
The War Cry goes on briskly, and the people are enjoying
its spicy paragraphs. Meanwhile the strains of a brass
band, which have been growing louder for some minutes,
burst with deafening force upon the ear as the players,
blowing with fearful energy, file up the aisle and drop
on their knees upon the platform. A steeply rising
orchestra is what the Army likes; the one before us is
now filled with “Soldiers." The first hymn begins, the
drum leading off to gire the time. The start is pretty
loud, but the fortissimo is reserved for the chorus, where
band and voices chime in together. Several soldiers are
armed with concertinas; nearly all the women have
tambourines; those who have no instrument at all clap
their hands to mark the rhythm of the music. A
grotesque animation is given to the scene by the gesticu-
lations and movements of the company. Each person
beats time as if he or she were the conductor, and as if
the utmost bodily exertion were necessary to prevent the
music from breaking down. Each one, moreover, beats
time in his or her own way. One man seems to be
perpetually hailing an omnibus; another pounds away
with his fists as if he were kneading dough; another rolls
from side to side until one fears every moment that he
will lose his balance. The concertina players sweep their
instruments in wide circles; the girls lift their tambourines
on high, or turn to their neighbours with upraised finger
as if imparting to them some startling information. The
spectators—this word is more expressive than “con-
gregation ”-stare at the performance, a fair proportion
THE MUSIC OF THE SALVATION ARMY. 29
join in the chorus, their voices being faintly audible amid
the blare of the cornets and bombardons.
Probably the next song will be a solo with concertina
accompaniment, in every way more pleasant to the ear
and the devotional sense, for there is no gesticulation, and
the voices of many of these Salvationists, if untrained, are
full of natural sweetness, while they are taught to make
their words audible.
Lately Mr. Herbert Booth took about twenty of the
cadets from the Clapton Homes on a singing pilgrimage
through the country. They were away six weeks, and
held seventy-five meetings, collecting about £1,000 for
the Homes. The Army disowns anything like a musical
performance, and would not sanction the expenditure of
much time on the preparation of songs. As Mr. Herbert
Booth says to me, “Our power is in what we sing about,
not in how we sing.” Nevertheless, these “Salvation
Songsters" may be supposed to represent the highest
point that music has reached in the Army. They have
various instruments in the company—a harp, two violins,
and a double bass, besides the usual concertinas and tam-
bourines. Several of the lasses have rich soprano voices,
and there is one lad, a Welshman, whose soft and true
baritone might make his fortune. We are told that
scarcely any of the singers know a note of music. In this
little company Mr. Herbert Booth evidently tries to
prevent shouting, and to cultivate that soft and tender
singing which is really infinitely more impressive than
bawling and din. As we listen to them, two lasses with
sweet voices sing Blockley's old duet, “List to the Convent
Bells,” to new words, with the subdued refrain:-
List! list! list! list!
List to the Saviour's call.
30
STUDIES IN WORSHIP MUSIC.
The audience are manifestly touched. The accompani-
ment to this is merely the strings and the harp. It is
curious to see a fiddler drop his instrument and stand
forward to pray; he is followed by the drummer, who
comes to the front and sings a solo. A medley of eight or
ten songs follows, sung without pause, one melting into
another. It is a strange mixture. The ear recognises,
in the disguise of Army words, “The Vicar of Bray,"
"I'd live and die with Nancy,” “The Campbells are
coming,” “Roll, Jordan, roll,” and many others. All
the party are under perfect control, and go on or stop as
Mr. Herbert Booth directs them. Sometimes at each
Ferse of a song he will change the singer, not a beat
being lost. A hymn of prayer he will sing himself, in
the attitude of kneeling; with closed eyes, the singers
responding in a faintly-heard refrain. Sometimes between
verse and chorus he will interpolate a prayer or words of
exhortation in this style:-
Solo: Too late! too late!
Thy day of grace is ended,
Thy God of love offended,
And from thy soul is rended
The lingering ray of hope.
SPOKEN: O Lord, grant that to none of us it may be said :-
CHORUS: Too late! mercy gone !
Too late! judgment come,
Shut without the golden gate.
Just too late !
These spoken interludes are, of course, a common
device in music-hall songs. As used by Mr. Herbert
Booth, they are very impressive. Sometimes a kind of
dialogue is carried on between the lasses and lads-
thus:-
MEN: 'Tis Jordan's river,
WOMEN: And I must go across.
THE MUSIC OF THE SALVATION ARMY. 31
The whole scheme is largely impromptu. Indeed, the
power of the services over rough people lies much in their
free and easy character, the absence of decorum, which to
Hodge is dulness, the short and frequent doses of prayer,
hymn, sermon, the pot being kept boiling all the time.
These services are very much like the negro camp-
meeting. The gesticulation, the rhythmical clapping, the
yell before entering upon the chorus, are points of a
resemblance which is almost complete. Probably there
has been no copying by the Salvation Army, and the
conclusion must be that both are the natural result of
strong feelings unrestrained, acting upon the raw material
of humanity. How hard it is for those whose natures
have been refined by life-long culture to enter into the
feelings of an agricultural peasant or a cadger of
one of our large towns! Things which hinder our
devotion may aid theirs; that which shocks us may
attract them in the truest sense. The music of the
Salvation Army defies our standards of criticism; but, for
all that, it may be serving its special end.
32
STUDIES IN WORSHIP MUSIC.
MUSIC AT LINCOLN'S-INN CHAPEL.
Ar Lincoln's-inn Chapel on this Sunday morning, the dim
light of richly-coloured windows streams softly upon the
dark oak of the high pews. Dr. Steggall is thinking out
a dreamy prelude to the service upon his mellow flue
stops, while, prompted by ear and eye, the mind falls
gently under the fascination of the past.
The chapel would be better described as a hall. It is
a plain double cube with high oaken roof, a small organ
gallery at the west-end, and at each end and along the
sides large windows of stained glass which connoisseurs
from all parts come to see. Neither transept, choir, nor
pillar breaks up the congregation or obstructs sight or
sound. The chapel, as it now stands, has been bettered
by alterations which were only completed last April. It
has been lengthened considerably, and a new roof of
higher pitch has replaced the old one. The acoustics of
the old chapel were good : in its present shape the
building is more resonant than ever. During the alter-
ations the organ was stored at Hill's factory, which was
destroyed by fire in August, 1882. Saving the admirable
diapasons and some other pipes, the instrument was
burned. The re-building of it was, however, on improved
lines, and the organ is now a complete modern one of
.
.
MUSIC AT LINCOLN'S-INN CHAPEL.
33
thirty-nine stops, including four on the pedal organ. It
stands in halves, which are built high against the side
walls at the west end of the chapel. The key-board is
between; the organist sits facing northwards, so that he
can see both choir and clergy as he plays. As at the
Temple Church the choir face one another from pews half
way down each side of the chapel.
The Lincoln's-inn service does not attract strangers like
that of the Temple, but it is scarcely less finished. The
Temple Church is the property of two Inns of Court, the
Inner and Middle Temple, who jointly contribute to the
expenses. At Lincoln's-Inn Chapel the supplies are not
so large. Twelve boys and six choirmen are retained, but
there are no probationers among the boys as at the
Témple. The boys at Lincoln’s-inn come with a fair
knowledge of music at about nine years of age. They
are articled to two of the Benchers, sent free to the
Stationers' Schools, and receive from Dr. Steggall or his
assistant three lessons of about two hours every week.
On Sunday, at the close of the morning service, there is a
rehearsal with the men of the music for the afternoon,
and for the morning of the following Sunday. The boys'
practices are held in the quaint old “choir-room," at
Lincoln's-inn Hall, where, seated at the yellow keys of a
venerable Broadwood grand, Dr. Steggall coaches his little
men with the care and neatness which are his character-
istics. On Saturdays, when half their lesson is done,
the boys walk across to the chapel, and go through the
Sunday's music with the organ. A pupil mounts to the
instrument, while Dr. Steggall, book in hand, paces the
aisle, or retires towards the communion-table, constantly
interrupting the singing to correct faults or improve
delivery. Meanwhile the organ is played quite softly, so
that the voices may stand out clearly. As a choir-trainer
34
STUDIES IN WORSHIP MUSIC.
Dr. Steggall is strict. “We have constant difficulty with
the 'Venite and the 'Gloria,'” he says to us, “ because
they are done so often. The boys fall into mannerisms or
become indistinct.”
Dr. Steggall adopts a more deliberate style of chanting
than is common now-a-days. During the long vacation he
gains some experience of London churches, and he thinks
that the “emphatic syllable” of Stephen Elvey has done
more harm than good in chanting. It leads choirs to skip
over the intervening words. Such maimed sentences as
"Let us heartily rejoice strength of our salvation” reach
the ear. Any tendency in his boys to run words into each
other Dr. Steggall corrects at once. The commas of
Janes' Psalter are observed, and the result is far more
decorous than is found in the average of churches.
Dr. Steggall has composed some anthems and services
which are of that “sound, church-like character” which
he so strongly desires for worship-music. In some
of his hymn-tunes he has approached the style of the
post-Reformation tunes more nearly than any other
composer, unless it be the late Dr. Hayne. Purely
diatonic, his tunes arrest the ear by bold and strong
progressions and well-balanced melody. The preface to
bis “ Church Psalmody” (1849) deserves to be reprinted
and re-read to-day. In it Dr. Steggall insists that it is no
less the duty of the people to praise than it is of the
minister to preach, and he demands that congregations
should duly prepare themselves for this part of their work.
Silent worshippers he attacks with vigorous exhortation.
Things have changed since those words were written.
The parish clerk and the charity children have disappeared,
but the congregation still shifts its responsibilities upon
the choir, which is their modern successor.
MUSIC AT LINCOLN'S-INN CHAPEL.
35
In many ways Dr. Steggall is a strong musical conser-
vative. He does not believe in the modern attempt to
make hymn tunes fall into rhythmical proportion. For
the sake of the congregation he prefers the old
"gathering note" at the beginning of each line, though
he acknowledges that but few of his brother musicians
share his feeling in this regard. He takes the hymn-
tunes at Lincoln’s-inn deliberately, even slowly, to judge
by modern standards. At a casual visit a few years ago
the present writer heard Dr. Steggall's own tune to “God
that madest earth and heaven” sung at Lincoln's-inn.
Each verse occupied from 65 to 75 seconds, which is at
the rate of M. 50. On the Sunday morning of which we
write, the old tune Helmsley is sung to the hymn, “LO!
He comes with clouds descending,” each verse occupying
a minute and a half, equal to M. 70. The vitality of this
old tune is remarkable. Year by year, in spite of the
jeers and loathing of organists, it re-appears with the first
Sunday in Advent in a hundred churches. “Some of our
Benchers," says Dr. Steggall, “will not let it die." But
he considers it no worse, indeed better, than the original
melody to “O Paradise," and other like frivolities.
The Benchers have been named as a factor in the
Lincoln's-inn service, and in truth they have a veto upon
everything that is sung. At the beginning of each term
Dr. Steggall draws up a scheme of services, including the
hynns, and this is submitted to a meeting of the
Benchers, whose chairman signs it if approved. A
monthly list is then printed and placed in the pews. In
his choice of music Dr. Steggall endeavours to include all
styles. On the Sunday of which we write there chances
to be a service by Orlando Gibbons sung. The flowing
counterpoint of the sixteenth century seems in keeping
with the old-world air of the place. If you forget the
36
STUDIES IN WORSHIP MUSIC.
words, how interesting are the intertwining melodies, how
pure, how ingenious! “Look,” says Dr. Steggall, holding
up the score, “at his canon and incessant imitation, not a
tithe of which the average listener notices. It is like an
old monk labouring at a carring in a dark corner where
nobody can see it, loyal to his art; aiming more to satisfy
himself than to please others.” Of an attempt to express
or heighten the meaning of the words there is nothing.
In the anthem by Arnold which follows, we step forward
two centuries, and it is instructive to notice the progress
made in that time towards naturalness and freedom, and
consequently towards devotional feeling.
Dr. Steggall does not altogether subscribe to the
modern school of organ playing. He is against placing
organs at the east end of the church. They encourage
the organist to forget the congregation; they promote
among the congregation a feeling that the music is done
for them at the other end of the church. “How seldom,"
remarks Dr. Steggall, "do we hear the diapasons
uncoupled. - Their softly permeating tone sustains the
pitch of the congregation far better than the penetrating
reeds. Our modern organists give us too much of the
reeds, which not only drown the voices, but impart a
nasal character to the singing." A further talk with Dr.
Steggall on organ music is full of interest. He recalls
Mendelssohn's playing, and remembers how when
Mendelssohn's organ compositions appeared there was
scarcely a C organ in the country to play them upon. He
is proud of the English school of organists and organ
composers, and remarks on the inferiority of the German
contributions to Dr. Spark's Organists Quarterly Journai.
The German players, too, are behind the English. Their
pedalling is clumsy, and their instruments are old-
fashioned.
MUSIC AT LINCOLN'S INN CHAPEL.
37
A full cathedral service is now sung at Lincoln's-inn.
Since the re-opening this year, the whole of the service
has been intoned. The choral responses are those which
for many years were in use at Trinity and St. John's
Colleges, Cambridge. There they have since been
replaced by the ordinary "Ferial” use, so that Lincoln's-
inn is probably the only place at which the old responses
may now be heard.
Dr. Steggall's predecessor at Lincoln's-inn was Mr.
Josiah Pittman, happily still among us. Dr. Steggall has
held his post for twenty years, and Mr. Pittman hails back
fourteen years earlier, so that his recollections are old.
Before his time a mixed quartet sat in the organ gallery,
and "did" the music, hymns included, all the rest of the
service being read. This state of things existed at the
Temple at the same period, before the Inns of Court
Chapels had felt the influence of the Oxford movement.
Quaint survivals are these old chapels of the three Inns,
fragments of a domestic life which, among benchers
and barristers, has long since given way to a new order of
things. How long will the reforming spirit of the age
leave them unmolested ? At least, while they last, let
their music, controlled by men like Dr. Steggall, link us
with all that is best in the past, as well as with what is
sober and true in the present.
STUDIES IN WORSHIP MUSIC.
THE MUSIC OF THE MOODY-SANKEY
MEETINGS.
expression and phrasing the result of premeditation, and
how far is it due to the impulse of the moment ?" We
are speaking to the evangelist in the tiny sitting-room of
a small house in North London, where, for the period of
the London Mission, he has found a temporary shelter for
his family and himself. “I am no musician," he replies;
“indeed, I am no singer, I was nerer taught to sing.
When I began this work, I asked Dr. Root of Chicago,
how I could best preserve my voice from wear and decay.
He told me to sing naturally, and never to force the tone.
I have tried to follow his advice, and I am thankful to
say I have kept my voice wonderfully. Maybe, if I had
gone to a master he would have ruined it in trying to
make it better. Such things have happened. As to my
singing, there is no art or conscious design in it. I never
touch a song that does not speak to me in every word and
phrase. Before I sing I must feel, and the hymn must
be of such a kind that I know I can send home what I
MUSIC OF THE MOODY-SANKEY MEETINGS. 39
feel into the hearts of those who listen. I find it much
more difficult to get good words than good music. Our
best words come from England ; the music which best
suits our purpose comes from America. Your composers,
apparently, do not care to write simple things such as we
need. We can get plenty of the grand and solid style,
but though that is useful now and again, our services
could not thrive upon it.” And so the chat proceeds.
There has been plenty of debate over these American
gospel song-tunes. Are they legitimate church music, and
if not, is it wise to employ a musical idiom in the prayer-
meeting and mission service which cannot be tolerated in
the church? The taste formed on Bach, on the simpler
counterpoint of our stately old English hymn-tunes, or on
the warmly-coloured modern tunes of Dykes and Barnby,
finds these American pieces hopelessly insipid, not to say
vulgar. Their structure is, indeed, extremely slight.
The old hymn-tune, with fundamental harmony at each
· beat, moves with the stride and strength of a giant,
while the attenuated effect of these American tunes is
largely due to their changing the harmony but once in
the bar. The frequent employment of march rhythm is
also distasteful to the ear which has fed itself upon good
models. Again, the plan of these tunes is bad enough to
start with, but still worse when they multiply by the
hundred, so that it settles into a mannerism. Not much
fluency or power of caricature are needed to manufacture
them by the dozen at the pianoforte extempore.
· Yet, after the musician has vented his spleen upon this
degenerate psalmody, an important fact remains. Music
in worship is a means, not an end, and we are bound to
consider how far these tunes serve their end in mission
work, which, after all, has not musical training for its
object, so much as the kindling of the divine spark in the
40
STUDIES IN TORSHIP MUSIC.
hearts of the worshippers. Without doubt these songs
touch the common throng; they match the words to which
they are sung, and carry them. The American Gospel
Hymn is nothing if it is not emotional. It takes a simple
phrase and repeats it over and over again. There is no
reasoning, nor are the lines made heavy with introspection.
" Tell me the story simply, as to a little child.” The
feelings are touched; the stiffest of us become children
again. Now, as these hymns are slight and simple, so
they naturally suggest slight and simple music. Some of
these American tunes have found their way into our
Standard collections, and have been reharmonised with
chords changing at each note, like orthodox tunes. This
is mere editorial pedantry. From every point of view they
are much better left as they are.
Mr. Sankey and his singing have in several ways dis-
tinctly advanced our church music. To him more than to
any living person must be attributed the ripening of
opinion in favour of organs in Scotland. He did not argue
the lawfulness of instrumental accompaniments in divine
Worship, but he superseded argument by making people
feel that organs were consistent with devotion and helpful
to it.
Of course, like all blessings, organs may be so used as
to become a curse. As we converse with Mr. Sankey on
this point, he says: “I use my reed-organ just to support
my own voice or the voices of the choir. But oh! the
rushing and roaring of the organ that often greets me
when I attend a church! The din is sometimes so great
that I cannot sing. If the organists must make a noise,
let them play a solo. When voices are singing voices ought
to be at the top.”
The power of expression, and especially of soft singing,
is another lesson that those who have ears to hear may
MUSIC OF THE MOODY-SANKEY MEETINGS. 41
learn from Mr. Sankey. We remark to him that while in
his own meetings expression is used to intensify the force
of the words, no sooner is his influence withdrawn than
mission choirs sink into a level and noisy monotony. He
admits the fact, and regrets it. The softest singing he
finds to be, spiritually, the most impressive. “It is the
still small voice," he says. “Often when I meet a new
choir for the first time I find then singing as if for dear
life. And the impression prevails that not to exert the
full power of voice is to show lukewarmness in the cause.
The choir fear that, if they sink their voices to a whisper,
there will be a collapse. I tell them that the only collapse
I fear is lest by the absence of expression they should fail
to make the music touch the congregation. Their best
singing, I warn them, will be their softest, and the softer
it is, the more impressive will it be. Of course we have
plenty of passages in our hymns that demand loud and
rousing singing. But there is no need to call the attention
of choirs to these.”
Mere “shading " is not the only useful lesson taught us
by Mr. Sankey. He shows us what may be done to
relieve the sameness of congregational singing. The
American Gospel song has borrowed from secular music
that most social, most heart-impelling contrivance, the
chorus. This unites soloist or choir with the congregation
in inter-reacting sympathy, drawing all into the circle.
The vast majority of the pieces have a refrain, burden, or
chorus, which a congregation picks up by ear in a moment.
Others have a recurring line, like No. 304, “ Come, Great
Deliverer, come," which the congregation hurl back on
the smooth voices of the choir. Mr. Sankey, as we talk
to him, multiplies examples of the kind. A hymn, to
which he has himself composed the tune, “ Take me as I
am,” has been sung, each of the first three lines by a
42
STUDIES IN WORSHIP MUSIC.
third part of the congregation, the whole joining in the
fourth line, “And take me as I am.” At Leicester the
meetings were held in a skating-rink, in which there was
a far-off end gallery, nearly an eighth of a mile away
from the platform. Mr. Sankey announced the hymn-
We shall meet heyond the river
By-and-bye; by-and-bye.
He said he would sing the first line himself; the choir
were to sing the first “ bye-and-bye,” and the people in
the distant end gallery the second “bye-and-bye." This
last response was so long in coming, that on the platform
they thought the direction had been misunderstood.
Almost as if, indeed, from another world, the words at last
floated to them, touching most powerfully the feelings of
the congregation below. It is, of course, a question to
what extent such methods can be introduced in ordinary
services. As employed by Mr. Sankey they are
spontaneous and intensely devotional. Elsewhere they
might become formal and artificial. But we may safely
use any such means so long as hearts are touched by
them.
Mr. Sankey was not the first “Gospel singer," but he
has, more than any other, inspired imitators. Singing
such as his is now a common part of the services by which
all the churches are endeavouring to reach the masses.
He is not a trained vocalist. A singing-master would find
faults in every measure that he sings. His style is more
recitative than singing; he sacrifices time unnecessarily to
impulse and feeling. The effect is often jerky, inter-
mittent, disconnected. It is speaking with a sustained
voice. But his earnestness is so apparent that it covers a
multitude of faults ; indeed, his transparent naturalness
MUSIC OF THE MOODY-SANKEY MEETINGS. 43
and his feryour so fix our attention upon what he is sing-
ing that we do not think of the faults. If Mr. Sankey
were a finished singer, it is possible that he would touch
his audiences less. He is utterly lost in his theme, and
thinks no more of how he looks or how his voice sounds
while he is singing than does Mr. Moody while he is
preaching. Every word throbs with feeling, and in
yearning, pleading phrases the large tender heart of the
man is especially conspicuous. “Gospel singers" who
wish to follow in Mr. Sankey's footsteps may go elsewhere
to learn vocalisation, but from Mr. Sankey, if from no
higher source, they must learn to forget themselves and
sing straight from the heart.
STUDIES IN WORSHIP MUSIC.
MUSIC IN THE EASTERN CHURCH.
the inte hea to 18 the
THE music of the Greek and Russian Churches has two
features which at once strike the Western mind. It is
accompanied by no instrument whatever, and it is entirely
sung by the priest and the choir to a silent congregation.
Ask the reasons for these restrictions, and the priests will
tell you that unaccompanied singing is in accordance with
the earliest and purest Christian practice. Silence was
imposed on the congregation by the Council of Laodikia
(rule the 15th) in the fourth century (A.D. 364),
because the primitive Christian tunes had become
corrupted, and every man sang his own version, so that in
the interests of decency and concord the choir was
established to represent the congregation.
The service of the Eastern Church is performed in two
places in London—the handsome Greek church in Moscow-
road, Bayswater, and the Russian Embassy chapel in
Welbeck-street. In the Greek church there is a gallery
for spectators; the Russian chapel is, however, private.
The difference between the services of these two branches
of the Eastern Church is merely one of language. The
Greek Church uses classic Greek, while the Russian uses
not modern Russian, but the old Slavonic. At the Greek
church there is a choir of men and boys in a gallery of
the north transept, but they are English men and boys
MUSIC IN THE EASTERN CHURCH.
5
who sing the Greek language from a phonetic version in
Roman letters. Difficulty is naturally experienced by
such nationalities as the Greeks and Russians in supporting
singers, in the strict sense of the word, at the Russian
chapel. When the Duchess of Edinburgh was first
married several singers from the Imperial Choir at St.
Petersburgh were sent over to London, and attached to
her chaplaincy. They, however, soon returned to Russia.
But the music does not languish at Welbeck-street, for the
Russian priests are nearly all singers. They are taught
singing during their college life, and must possess a
certificate of competency to intone and sing the service
before they can enter the lowest grade of their order.
The little Russian chapel in Welbeck-street follows the
model usual in the Eastern Church. Entering, we find a
domelike building, with windows high above, sufficient
only to fill the place with a dim light. Across the further
end of the chapel stands the Ikonostasis-the screen
which separates the holy of holies and the altar from the
nave. In this partition there are three openings, hung
with doors, through which the priests pass and re-pass.
In the more solemn parts of the service the middle doors
(the Holy Gates) are closed. During Easter week these
Holy Gates are open, according to the law of the Church,
all the time, day and night. The Eastern Church forbids
sculpture; but the Ikonostasis is laden with pictures,
richly jewelled, and candles burn before them.
Church the congregation stand. At the Greek church at
Bayswater there is a stall for each worshipper, with elbow
rests- a great relief to the body. At the Russian church
there are no such contrivances, but the floor is carpeted.
The standing is varied at certain parts of the service by
46
STUDIES IN WORSHIP MUSIC.
kneeling and prostrating the body until the forehead
nearly touches the ground.
At Welbeck-street three or four assistants, who are to
sing the responses, stand within the chancel rails on the
right-hand side, and the priest and deacon who are
celebrating more to and fro within and without the
enclosure, now hidden from the congregation, now ad-
Tancing to the floor of the chapel to swing the censer, or
with back towards the congregation, to intone the
Liturgy. Assistants and clergy are dressed alike in long
robes of bright green, starred all over with gold crosses,
and with a gold tippet on the shoulders.
With an English translation of the Liturgy in hand, the
stranger may readily follow the service from the first
responses of “Gospodi Pomilui”—God. have mercy upon
us—through the exhibition of the elements, which are
borne overhead by the celebrant and shown to the people,
until the final appearance of the priest, bearing in his
hand a golden cross, which every member of the congre-
gation, in turn, advances to kiss.
The chants sung by the choir are ancient. The word
chant must not be here understood to mean the cut-and-
dried Anglican form. These Russian Church tunes are
unbarred and unrhythmical, having an affinity with
Gregorians. For the principal parts of the services, and
especially in the evening services, there are eight tunes in
use, and these are changed every week. These eight melodies
were written in the eighth century by St. John of
Damascus, and have been unchangeably preserved till now
in the Eastern Church. Throughout the whole of Russia
this uniformity is observed. One of the assistants of the
chaplain at Welbeck-street has shown me an old service-
book in Gregorian notation, the melody being given
without harmonies. The service was first printed in this
MUSIC IN THE EASTERN CHURCH.
47
form in 1772. Modern notation is now used, the soprano,
alto, and tenor parts being written in their proper C clefs.
A few of the tunes are barred, but as a rule they are
unbarred.
The ear is always charmed with the unaccompanied
harmony of voices, and the responses at Welbeck-street*
fall upon the air most gently. It is in accordance with a
natural law that the absence of instruments should lead to
the perfecting of singing, for the voices must complete
whatever effect is desired. There is a strange plaint in
these old tunes sung in four-part harmony by the four
men who are readers and assistants. The principal
response, "Lord have mercy upon us,” is sung to a phrase
consisting merely of the bass C F G C with the common
chords above it, now rising to loudness, now sinking to a
mere chorded murmur, and dying in long-drawn sweet-
ness.
The quality of the Russian voices, especially of the
Russian basses, is remarked by every traveller. Count
von Moltke, in his letters from Russia, speaks of a bass
that made the windows shake, and again, of an
"incredibly deep” bass voice that he heard. At a
convent for nuns in St. Petersburg that he visited, there
were some beautiful women's voices, among them "some
so deep that one might take them for men's." The
deacon at Welbeck-street, though he is past sixty, has a
bass voice of this large, cavernous sort, which is to an
ordinary bass voice what a double bass is to a violoncello.
As a rule the finest tenor and boys' voices come from
South Russia, the finest basses from North Russia. Boys
are employed in the principal choirs in Russia both for
treble and alto parts, and not for treble only as in the
English cathedrals. There is, however, no rule of the
Eastern Church against women singing, and women often
STUDIES IN WORSHIP MUSIC.
are found in voluntary choirs in the large towns. Some
of the bass voices in Russia are so deep that they sing a
special part, generally moving an octave below the
- ordinary bass, and hence they are called "octavists." I
am told on the best authority that all these men take the
C on the second leger line below the bass staff, and that
the best of them can take the F on the fourth leger line
below the bass staff. These deep voices throw up
harmonics which enrich the upper parts, and add a
wondrous fulness to the harmony.
The choir of the Imperial Chapel at St. Petersburg is
the best in Russia. It consists of about 120 voices, men
and boys. The director makes it his business to travel all
over Russia hunting for fine voices. The most fertile
district is Kief, in the South. The members of the choir
practise an hour and a-half each day under Italian masters
for vocalisation, and under their own four teachers for the
church style. At practice they use a pianoforte; in other
choirs a harmonium or violin is employed, but of course
none of these instruments enter the churches. There a
tuning-fork to give the pitch is the only instrument used.
The members of the Imperial Choir have no other
occupation, and they preserve their voices with great care.
Several modern composers have written music for the
Russian Church, among whom may be named Bortniansky,
Galuppy, Davydoff, Beresovsky, and Turchaninoff. The
last-named composer is especially noted for his inusic.
All through it he preserves the tunes of the old service
book in Gregorian notation. The music of these recent
composers is barred, but there is scarcely any fugal
imitation; the voices generally move together. The
composer is strongly under the influence of the old
Church chant, as is seen by the reiteration of the same
note many times over. Indeed, any movement in the
MUSIC IN THE EASTERN CHURCH.
49
direction of the Italian style or the counterpoint of
Protestant composers would not be tolerated. No Church
music. can be printed or sung in Russia until it has been
duly authorised. Von Moltke says that this Russian
music "is as far removed from the meagre hymns of
Protestantism as from the operatic music of the Roman
Catholic Church.” But comparisons are not needed to
awaken interest in these tunes and the old ritual of which
they form a part.
AN OLD CHORISTER.
“I was 78 last March, and I have been a singer at church
and chapel ever since I can remember.” The speaker is
an old man, with plenty of white hair lying rough upon
his head, his intelligent but wrinkled and time-beaten
face set in a fringe of white whiskers. He speaks in low
rich tones that betray the singing voice, and as he talks
on his favourite subject his eye kindles, his cheek glows,
and he accompanies his sentences with gesture and move-
ment. Here we sit, heDaniel Burton—and I, on
opposite sides of the table in the quaint old kitchen of his
cottage. The stone floor, the small window deeply sunk
in the massive wall, the low ceiling, made still lower by
the great beam that crosses it, the wooden chairs and the
homely furniture are of a piece with the old-world chat
that is going on in the room. We are but twelve miles
or so from Oxford, yet it has taken me an hour and a half
to get here, the last three miles a tramp through farming
country, hill and combe alternating with a quickness that
stretches limb and lung. In this hamlet, the stately
beeches of Blenheim in sight, Daniel has spent his long
life. His mind is clear and strong; sometimes a
name escapes him, but his memory for past events is
distinct.
AN OLD CHORISTER.
1
“My singing," he says, “began in this wise. I was a boy
at the Sunday-school which was held at the church of this
village. There were no day schools then ; but there was a
disturbance with the choir of the church, and singers
and players—for there were 'cello, bassoon, flute, and
clarionet-turned out on strike. We children were
sent for to fill up the gap; and twice a week we used to
go to the house where the old clerk lived to learn the
tunes. That must be nearly 70. years ago, yet I
remember the old man well; he had a good voice, and by
hearing the tunes from him a few times we quickly picked
them up, and did our work on Sundays fairly well. At
anyrate we remained on duty till in due time the choir
came back, and then they had no further use for us. My
grandfather and my uncle were singers in the church; I
remember them both. The chief instruments were
played by three men, father and two sons; they were
hurdle makers in the village, and were thought a deal of
by us all.
“I never had any teaching in music, except that when
I was sixteen or seventeen the old parish clerk wrote
down the scale of the flute for me, and told me how two
minims made a semibreve, and so on. The rest I found
out for myself. For a while I played the flute in the
Parish Church, and afterwards I learned enough of the
violoncello to play that too. There”-pointing to a faded
Daguerreotype on the wall—" there I am.” I look, and
see a dim figure of the old musician with a 'cello between
his thighs, drawing his bow across the strings. “When
my voice broke I took to singing alto, and my way was to
sing alto and play bass at the same time.
" It was about the year '25 that the Methodists came
into the village and began holding their services in a barn.
I was strong church then, and believed the clergyman
STUDIES IN WORSHIP MUSIC.
when he told us that they taught false doctrine. Very
regular was I at church at that time. For two years I
never missed once, morning nor afternoon, and then I
only missed it because I got fighting, and had a couple of
black eyes.” “Fighting," I ask, “how was that?”
“Well, you see, we young men used to go and disturb
the Methodists and make fun of them, and it was a
quarrel that came of such business. In '27 the Methodists
built their chapel, and began regular services. About
that time the singing in the church was very middling,
and did not satisfy me. I went, now and again, to the
Methodist service, and their singing opened my heart. I
was right melted by it, I forgot all about the false
doctrine and joined them.
"Of course I soon found myself in the choir, singing
alto and playing my bass viol. After a time I dropped
into the post of leader, and a very good band of singers
and players we had. Everyone said we had the best
singing in the circuit; we used to go abroad to tea
meetings; we have sung in Woodstock Town Hall;
whenever we were within reach the chapels wanted us.
At the Sunday services we led the hymns, the flute and
clarionet played the air, and the 'cello and bassoon made a
fine, full bass. There were some twenty of us, all told.
Ah! I have seen this room choke full of singers, practising
for the next Sunday. In our best time we knew thirty
or forty anthems, and had perhaps a couple of hundred
tunes written down in our books. Once we sang the
Hallelujah Chorus.' We got the anthems from the
Union Harmonist and other like books. Here is the
Harmonist.” And the old man takes from its shelf the
dusty volume, turning the pages and dilating upon the
qualities of each of the anthems, singing a favourite
phrase here and there, and pointing with admiration to
AN OLD CHORISTER.
53
the runs and fugues. “Do you like the tunes they sing
now?” he asks. “To my mind they sing them a great
deal too fast. And there's nothing in them. They go
Tum tum tum tum tum tum tum tum
Tum tum tum tum tum tum-
there's no rest, or time to catch a breath, no swells, no
tasty music like we had in the old tunes and pieces.
Then in this new Methodist Tune Book they have altered
the harmony of the old tunes. Here and there they have
put in an accidental that makes a nasty, disagreeable
noise. It doesn't seem to me half as good as the old
style. Every Sunday night we sang an anthem. It
wasn't part of the service, but we sang it when the
service was over, as the people were going out. But
(with a chuckle) it wasn't many people as went out while
we were singing. As my children grew up they all
turned out Methodists and singers. My four sons and my
two daughters were all a strength to the choir, and the
boys played instruments too."
“Where did you get your tunes ?" I ask. "Oh, we
collected them here and there; sometimes I went to
Oxford and got one or two; once or twice I was in
London; another time I went down into Gloucestershire
on business, and picked up some tunes there. About
twenty years ago they got an harmonium, and then the
players gave up. Some had left and others were getting
past work. Ten years ago they built a new chapel, and
we only use the old one now for the Sunday School."
The old man takes me into his parlour, and brings forward
a large type copy of “Wesley's Hymns,” a copy of the
"Centenary Tune Book," and a pair of silver-mounted
spectacles, each of which is inscribed as having been
presented to him in 1864 in appreciation of his services as
leader of the singers at the Wesleyan Chapel for thirty
years past.
54
STUDIES IN WORSHIP MUSIC.
“May be you would like to see our old chapel," he
continues. I assent, and we stroll down the village street,
Daniel stepping firmly and quickly along. The chapel,
when we get inside it, certainly seems a tiny one. Daniel
says he has seen 300 people in it, but it looks as if 100
would be the maximum. “Come here,” he says, as he
seats himself in the old square pew to the left of the
pulpit, his back against the side wall. “This is my seat,
I sat here for many a year, and I've had many a blessing
in this seat. When there's a meeting in the old place
they always let me come here. There was a music desk
in this pew, I sat here at the end of it with my bass viol,
and along it on either side were the flute, the clarionet,
the bassoon, and later times the concertina. Bless you,
sir, I do think singing is the grandest worship we can
render to the Almighty! Preaching convinces us of sin
and converts us, but singing goes straight to God. What
a joy singing has been to me! Did you ever hear Mr.
Sankey? I was up at London once and heard him at the
Bow Hall. Do you think he is a good singer ? He can
play the harmonium, and he gives fine expression to his
singing, but, do you know, sir, I think from thirty up to
sixty years of age I could have sung better than he. I
don't praise myself. The Lord has given me a voice and
I have used it, and I don't call Mr. Sankey's a pleasant
voice."
So Daniel chats on, as he sits in his corner of inspiration.
I ask if the choir had any quarrels or "strikes” in his
time. “We had a great fall out,” he says, “when that
gallery was built,” and he points to a timber stage at the
back of the tiny place, which looks as if it would hold
twenty people. “Young people, you know, are jealous.
I was chapel steward at the time, and I told them the
singers would want one end of the gallery. But there
AN OLD CHORISTER.
was a woman in the congregation who had given more
money than anybody else to the building of the church,
and she wanted the whole of it for the nobs. The choir
was refused, and we all turned out. I didn't go back for
a long time; in fact, the centenary service was the first
that brought me into the place again.”
Again we move, and find our way to the new chapel,
with the harmonium and other signs of a degenerate age.
Some tune-books are scattered about the instrument,
amongst them one of Daniel's manuscript books,
containing about 100 tunes in full score in his hand-
writing, alto at the top, tenor next, and treble close above
the bass. He turns to tune after tune, and as I play,
timing myself to his measured beat, he sings, now piping
the alto, now taking up a bass lead with a sonorous voice
of a rich quality that is remarkable considering his age.
"I can't sing the alto as I could,” he says, as if by way
of apology for taking to the bass, “my voice gets flat."
Nevertheless he is to-day perfectly true in tune, whether
in alto or bass. At the high B flat of the alto falsetto
and at the deep F of the bass chest voice he is equally at
home. His voice quivers somewhat, but the pitch is
faultless. He puts in many of the old grace notes which
were universally inserted by singers in his time. I notice
that whenever, in turning over the pages, he starts a
phrase without the instrument, he starts it at its proper
pitch. Several times I test this, and he expresses no
surprise at being right. "I always did that," he says,
"and never used a pitch-pipe to raise the tune. Some-
times I have started a tune before the instruments were
ready, and they have always come in and proved my pitch
ally inserted by over the pasite at its prop
right.”
Daniel's heart is in the past. The new tunes, the
young people in the choirs, are none of them up to the
56
STUDIES IN WORSHIP MUSIC.
standard of his early days. He wants time in the tunes
to let the voice swell and roll; to give the feelings play.
He wants the young people to sing their parts from the
music and not by ear; he wants more joyful devotion to
psalmody. He never cared for secular music himself, and
cannot see how anyone can find it so attractive as
psalmody. He is a survival of a past generation, and our
young choir members should not be too ready to set him
on one side, but may ask themselves what good they can
get from his old-fashioned notions and spirit.
AMONG THE MORAVIANS.
It is a wintry Saturday night, and as we drive past the
great posts which mark the boundary of the Moravian
estate at Fulneck, it is pleasant to dream that we are
leaving behind the wrangling, striving world, and entering
an atmosphere of brotherhood and peace; that here the
thoughts and acts of men are pure and loving, their evil
propensities covered by Christian restraint, just as the
black heaps of coal-slag, which lie far and near, are being
covered by the steadily-falling snow.
Every one indulges at times in such a dream of monastic
peace, or, what is more healthy, in a dream of real
.Christian fellowship for men and women—that "dwelling
together in unity" of which the Psalmist speaks. Every
communion conserves and throws into prominence some
point of Christian organisation or conduct. The Moravians
bring to the front companionship, intercourse, personal
friendship. And it is impossible to spend a Sunday at
Fulneck without noticing how this intercourse springs
naturally and easily out of the conditions under which the
58
STUDIES IN FORSHIP MUSIC.
brothers and sisters live, grouped together in settlements.
They are all neighbours. Distance kills friendship. At
Fulneck we see how grouping promotes it, and aids growth
and combined action. When one has only to cross the
road to church, or walk the length of a street to find all
one's friends, the exercises and engagements of religion
cease to be a labour, however numerous they may be, and
a great variety of short services become possible, which
nourish the Christian life.
Fulneck is charmingly placed on the steep slope of a
Yorkshire dale; its aspect southern and sunny. The spot
was well chosen by the founders of the settlement a
hundred and thirty years ago, and they named it after a
German town that was similarly posed. The reader must
think of a furlong of barrack-like buildings, a broad walk
in front of them, at the edge of which the ground slopes
away in orchard and meadow to a beck whose course is
marked by a fringe of covert. On the other side of this
the ground rises steeply, and the opposite hill-top is only
a mile away, wood and meadow lying between. But for
a few pit-mouths the prospect would be perfectly natural
and lovely. These barrack-like houses are the official
part of the settlement. The order is symmetrical. Right
in the middle stands the chapel; on either side of it the
houses which were formerly occupied by the unmarried
brethren and the unmarried sisters; then on either side
again the boys' and the girls' boarding schools and other
buildings, such as the widows' house, the infirmary, &c.
Behind this official row of buildings is a road, flanked by
a terrace of smaller houses in which families live. At the
eastern end of the terrace is the burial-ground, where
2,000 members of the brotherhood are sleeping, the
graves marked with long ranks of flat stones. There is
something very pathetic in this nearness of dead and
AMONG THE MORAVIANS.
59
living. There are about 300 souls living in this little
village, including 100 boys and girls in the boarding
schools. The estate belongs to the church, which,
through its officers, is the landlord of all the cottagers,
and of the farmers who rent the meadows. The
competition of the large towns has destroyed the trades
that were carried on in old days by the brethren and
sisters, and the establishment of high schools, in conjunc-
tion with other adverse circumstances, such as stagnation
of trade, has, for a time at least, injured the boarding-
schools for which the Moravians have such a deserved
reputation. Many of the brethren have had to go to work
to neighbouring villages, but they still attend the services
at the chapel.
On Sunday morning the bell sounded for ten o'clock
service, and the queer old building was well filled. Its
shape is peculiar—an oblong running east and west, the
pulpit in the middle of the southern side, the organ in a
gallery opposite; the gallery, heavily panelled, stretching
round either end of the chapel. Along the south side are
four great windows, which look upon the apple orchard
and the green slopes beyond. The congregation, whether
in gallery or on floor, is grouped in sexes—men and boys
on the preacher's left, women and girls on his right.
The service is partly liturgical; at one place the
minister sings a sentence, to which the congregation
respond in song. The hymn-singing is Lutheran in style.
Many of the Moravian hymns are translations from the
German. The metres and the tunes have been retained,
and the association of music and words has been kept
intact. Not only this, but the singing is in unison. The
tunes are well known, and everybody seems to sing.
From the gallery, where the big lads sit, comes a hoarse
and hearty melody which almost drowns the sisters'
60
STUDIES IN WORSHIP MUSIC.
voices. The chanting is equally general. There is no
choir whatever; the organ, played by Mr. Sebastian
Nelson, gives a massive support to the voices of the con-
gregation.
It is the anniversary of the foundation of the Moravian
Church, and the settlement is summoned at two o'clock to
a Love Feast. Four trombone players standing at the
chapel door give out the grand slow harmonies of a
chorale, to call the people together. The sound is novel
and impressive. This quartet of trombones "the horns,”
as they are familiarly termed—are a feature of Moravian
life in the larger congregations of the community,
especially on the Continent. On Easter morning they
waken the settlement between six and seven o'clock with
chorales. They announce a death by playing a chorale on
the terrace, and you can tell, by the tune they play, to
which “choir” the deceased belonged-widows, unmarried
brethren, &c. At funerals they greet the body at the
chapel door, and at the grave they lead the mourners in
the chorale, “0 Haupt voll Blut und Wunden."
There is nothing Sacramental in the Moravian Love
Feast; it is a social service. Sunday scholars mingle with
the grown-up people, and the floor of the chapel is entirely
filled. A verse of the hymn “God reveals His presence"
is sung; then all sit. The hymn goes on, and there enters
the chapel-keeper carrying a wicker-basket full of buns.
Two women in white mob caps, with a white kerchief over
their shoulders, follow with like burdens. The minister
having taken a bun the man turns to the right and
distributes among the men and boys, the women go the
left and supply the sisters and girls. The singing goes on
meanwhile. When the distribution is over a new hymn
is announced, and hardly has it begun when the same
three re-enter, each bearing a tray full of steaming cups
AMONG THE MORAVIANS.
61
of tea. A motet, sung by the choir in the gallery, and
including a solo, follows. Then the minister, Rev. Mr.
Clemmens, gives an historical address, telling the story of
the brethren, their sufferings and triumphs. We all sit
and listen, sipping our tea and eating our bun. A hymn
is sung while the cups are removed, and then the Rev.
Mr. Shawe, head master of the boys' boarding school,
follows with a vigorous defence of the Moravian position,
and an appeal to their past deeds as missionaries and
educationists. The service closes with another hymn, a
collection (during which the organ plays), and a short
prayer.
The children now withdrew, and a second service, called
the "cup of covenant," was held. This originated more
than a hundred years ago in a farewell service to a band
of missionaries who were leaving a German settlement.
It was short and touchingly simple. The Love Feast had
lasted an hour and a half; this was over in half-an hour.
A hymn having been sung, a short address was given.
Two deacons then carried the goblets of wine from seat to
seat, the people standing and singing :-
Thou hast kindly led us
For these many years,
O accept our praises
And our grateful teal's.
Grant us all the favour
To obey Thy voice
Yea, what Thou directest
Be our only choice.
As the hymn goes on we sit, but all stand as their turn
comes to drink. The minister picks out appropriate
verses from one hymn after another. The tunes being
inalienable and well known, the organ has only to start
and all the congregation take up the melody. When all
62
STUDIES IN WORSHIP MUSIC.
have drunk, the singing ceases, and a final hymn is given
out. The last verse reads :-
We now return each to his tent
Joyful and glad of heart,
And from our solemn covenant
Through grace will ne'er depart;
Once more we pledge both heart and hand
As in God's presence here we stand,
To live to Him, and Him alone,
Till we surround His throne.
At the words, “Once more we pledge both heart and
hand,” everyone turns and shakes hands first with his
right hand and next with his left hand neighbour. This
simple ceremony is observed not only at the conclusion of
this service, but after the ordinary communion service.
The Moravians have always admitted music freely in
their services. Of the elaborate motets sung by the choir
alone we have specimens in the collections of La Trobe
and Hasse. At festivals, like Christmas and Easter, a full
band will take part in the service of music. The oratorios
performed in Fulneck Chapel used, in the old days, to
attract visitors from Leeds and Bradford. With all this,
the congregational music is severely simple, made up of
chorales sung in unison, without the lead of a choir, and a
few simple chants. In the Watch-night service, on New
Year's Eve, a curious custom is observed. Upon the first
stroke of twelve the organ bursts out with a chorale,
which all the people take up. The organist waits not a
moment, and often drowns the closing sentence of the
minister's address, bringing it to an untimely end.
The service-book contains twenty-eight different liturgies
for various seasons and subjects. These are made up
chiefly of hymns, odd verses being strung together in
accordance with their spirit and suitability. In these
services the liturgist, the choir, and the congregation take
AMONG THE MORAVIANS.
63
alternate parts. Many of them consist entirely of singing,
and are called “ singing meetings.” They last about half-
an-hour, and in the larger settlements, especially in
Germany, are held every evening in the chapel. The
spirit of the hymns varies from prayer to meditation, and
from meditation to praise. Hence they satisfy the
devotional spirit, and, to some extent, take the place of
reading and prayer. At these services in Germany the
minister begins to sing the verse, which both organist and
congregation then take up, the organist pitching on the
key in which the minister is singing and always playing
from memory. The resource of an unmusical minister is
frequently to sing the first two or three words of the
hymn, in any key, so distinctly that the organist bursts in
with the proper tune at a convenient pitch.
We pass over the evening service at Fulneck and the
Sunday-schools, which contain 260 children. The
antiquity and the simplicity of Moravian customs makes
them full of interest. Whether or not an ideal Christian
brotherhood reigns at Fulneck, a Sunday there is both
peaceful and refreshing. We face the world again on
Monday morning, carrying with us a sense of communion
and fellowship that warms the heart and strengthens the
will.
"My strong point,” says Mr. Feaston, “has never been my
preaching. I believe that the large congregation to which
I ministered at Lozells were attracted mainly by the
purely congregational service, which invited everyone to
sing and to respond. We used none of the arts for draw-
ing a congregation. The services proved attractive, but
that was not my aim. I merely endeavoured to be loyal
to my ideas of what worship should be, to do the right
thing in the right way. The public came of their own
accord.”
. Lozells is a pleasant, but not a fashionable district of
Birmingham. The congregation, speaking generally, is
neither rich nor poor, but is made up of that middle class
who make the best church workers, and have the heartiest
spirit. The ministry of the Rev. J. T. Feaston ceased
some fourteen years ago, but the church was built and the
service was modelled upon his ideas, and is still main-
tained upon the old lines. The present minister is the
Rev. J. Shillito.
No people are so conservative as those who have in the
past taken up a radical position. The Lozells congregation,
the sold people” especially, are invincibly attached to
the novel arrangements of the building in which they
have worshipped for some twenty years, and to the order
of service in its minutest arrangements.
PSALMODY AT LOZELLS CHAPEL.
65
The building is in outline a double cube with round
ends. Two galleries with light iron-work facings, grace-
fully rounded off at the pulpit end, encircle the walls, the
higher gallery being smaller and narrower than the lower
one. The windows are below the first gallery and above the
second. The walls are coloured and decorated with warm
tints. In the place where usually stand the Ten Com-
mandments -- that is, on either side of the pulpit-are
two large tablets which announce, in bold figures, the
numbers of the hymns and tunes for the service, and the
amount of last Sunday's offerings. These figures fit so
neatly into their places that they seem a part of the
tablets, and strangers often wonder, as King George
wondered about apples in dumplings, however they got
there. There are no benches or pews at Lozells; in
place of them we find long rows of comfortable chairs,
set in a slight curve across the floor. These chairs are
by no means penitential. They are of a large size, and
well cushioned, each being separate from the rest. Close
under the seat of every chair is a shelf guarded by a lid,
and everyone keeps his books in the chair in front of him.
Each box contains a hymn-book and a tune-book, the
property of the church. The floor of the building is
carpeted, except the aisles, which are laid with linoleum.
Offerings are entirely voluntary, and are put in boxes on
entering the place.
We dwell on these details to show that Mr. Feaston's
originality and disregard of conventionalism, which
found its strongest expression in the psalmody, penetrated
also the whole arrangements of the place. As we talk of
the matter Mr. Feaston says:-"I began by asking
myself what was the ideal employment of music in
worship. The answer came irresistibly that it was singing
by the whole congregation. I felt that at best a choir
66
STUDIES IN WORSHIP MUSIC.
could only be regarded as a substitute for the congregation.
I was convinced that the highest aim was not to abolish a
choir, but to convert the congregation into one. If I
the need for a choir vanished. Thus I theorised, but
before setting to work I saw clearly that I was not likely
to reach the perfection I sought. I said to myself, how-
ever, · The nearer you aim at perfection the more likely
you are to approach it, and so long as you aim at it you
must be on the right track.'"
“I began," says Mr. Feaston—and this point we regard
that which most people adopt. I did not assume that the
congregation generally could read music, but I assumed
that they could not do so. I therefore invited them to
come on Monday evenings, and learn to read music after a
systematic fashion. The system I used was Waite's,
which applied figures to the ordinary staff notation. At
these weekly practices the tunes were patiently studied,
and the parts rehearsed until they were known. No
instrument but a pitch-pipe ever came near us, either at
the practice or the Sunday service. We were careful,
moreover, to prevent the idea spreading that our Monday
practices were for any select part of the congregation.
They were for the congregation itself, and the success of
our scheme depended on the congregation bearing upon its
own shoulders the obligation of sustaining the psalmody.
“At the practices, of course, the people were arranged
according to the parts they sang. To some extent, also,
we carried out this plan at the Sunday services, and this
has been much criticised. But the grouping on Sunday
was entirely voluntary. In every congregation there are
a large number of “unattached' people, and it was these
PSALMODY AT LOZELLS CHAPEL.
67
we persuaded to sit together in parts. If any members of
families did so in addition, the act was their own."
So far Mr Feaston ; to his own reminiscences a few
personal impressions of Lozells psalmody may be added by
the present writer. In every way the manner of con-
ducting the service of praise is novel. The precentor,
Mr. Nicholas, stands on a raised platform below the
pulpit. The hymns and tunes are on the tablet, and
there is, therefore, no need for them to be announced.
When the people have found the hymn and the tune Mr.
Nicholas stands; the congregation then stand too. He
blows the keynote on his pitch-pipe, and the congregation
respond with a full round chord. This having died away,
at a signal from the precentor they start the hymn.
The first thing to be noted about the singing is its
sharpness and clearness. There is no dragging or drawl-
ing; all is life, spirit, and promptness. The accent is
good, and the congregation answers most readily to
changes of force and movement suggested by the precentor
in order to bring out the meaning of the words. But by
far the strongest feeling produced on a stranger is that of
hearing full and balanced harmony pouring in from all
sides. This does not come from either end of the building;
it comes from everywhere. In many churches if one joins
heartily in the singing one feels singular, because very few
in the congregation are doing the same. At Lozells
chapel one has precisely the opposite feeling. Here to be
silent is to feel singular, because everybody is at work.
The sound of voices all round is infectious; almost
insensibly one begins to sing.
It should be noticed that this congregational result has
not been reached by starving the psalmody from a musical
point of view, or levelling it down to infantile simplicity.
In Mr. Feaston's time a great point was made of antiphonal
68
STUDIES IN WORSHIP MUSIC.
singing of the hymns. Sometimes the people in the
galleries would auswer those below; sometimes the
children would sing a verse by themselves; often the men
would take a verse alone; or, again, the women would do
the same. To judge by the delights with which these
effects are recalled over a distance of many years, they
must have been very appropriate and very expressive. All
along there have been chants and anthems sung, as well
as hymns. Mr. Feaston collected a number of appropriate
texts which form responses to the Ten Commandments
and to the Beatitudes. These are read by the minister,
and the people chant the response. Thus to the fifth
commandment, “Honour thy father and thy mother,” &c.,
the response is, “A wise son maketh a glad father; but a
foolish son is the heaviness of his mother." Again to the
fourth beatitude, "Blessed are they which do hunger and
thirst after righteousness,” the reply is, “I have longed
for Thy salvation, O Lord, and Thy law is my delight."
To hear the whole congregation stand and deliver these
responses in strong and full harmony is striking and
impressive. There is an anthem, chant, “Te Deum," or
response of this kind in every service.
Much attention is also paid to musical expression, .
which has its root not in mere artistic effect, but in the
devotional spirit. Take the verse :-
Frail children of dust,
And feeble as frail,
In Thee do we trust,
Nor find Thee to fail;
Thy mercies how tender,
How firm to the end,
Our Maker, Defender,
Redeemer, and Friend.
The congregation, having practised the hymn during the
week, began the verse quite softly; at the words, “Thy
PSALMODY AT LOZELLS CHAPEL.
69
mercies how tender,” they quickened the speed, and sang
louder and louder to the end of the verse. The long drawn
pianissimo at the words, “Keep silence before Him,"
which close one of the anthems, was also very impressive.
The singing gains much in vividness through the words
being audible. It is a disadvantage of the organ that it
does much to prevent the words being distinctly heard.
We find, on inquiry of Mr. Nicholas, that flattening,
which was the chief defect we feared, now seldom takes
place. It did take place, however, a few years ago, when
the psalmody had been neglected. We attribute its
absence to the decisive and spirited singing, and especially
to the fact that nearly every one is singing the part for
which he or she is fitted by nature. There is thus no
straining; and it is straining that causes flattening.
Mr. Nicholas, in his present scheme of work, has some-
what modified Mr. Feaston's original plan. He keeps up
the psalmody exercises on Friday evenings. Admission to
these is free, and the average attendance is about one
hundred. Juvenile psalmody exercises are conducted at
an earlier hour on the same evening. At Lozells the
Sunday-school has always used the same hymn-book as the
church, and thus the children do much to help the
psalmody with their fresh young voices. Mr. Nicholas
has also Tonic Sol-fa classes on Monday evenings, for
adults and for children. These are largely attended, and
it is here that singers are manufactured. The attendants
at the psalmody exercises divide themselves on Sundays
for the most part into four groups of twenty each. One
of these groups sits in the middle of the church, one in
each side gallery, and one in the end gallery. Each group
contains all the four parts, and not one part only, as was
Mr. Feaston's plan. To the eye these groups are not to
be distinguished from the rest of the congregation, but
70
STUDIES IN WORSHIP MUSIC.
they exert a powerful influence. They are musical fire-
brands, that set the whole place in a blaze; they
encourage the timid and arouse the indolent, until all
begin to sing
The plan of having a "dispersed choir” has often been
recommended. It is practically carried out at Union
Chapel, Islington, where the persons sitting in the choir
seats are but a small fraction of those who attend the
psalmody practice, and rehearse the service music. The
same thing is done extensively in Scotland. But in all
these cases a choir remains; there is one part of the
building upon which the responsibility of the music espe-
cially rests. The peculiarity of Lozells Chapel is that
there is there no select body of singers; no part of the
church or of the worshippers are more concerned with the
music than any other. Mr. Feaston would probably object
to our saying that the whole of the choir is dispersed. He
would prefer to say that the congregation is the choir.
But practically the two things are the same. The cardinal
point is that the congregation are not allowed to feel that
they have shifted their responsibility. The onus is thrown
upon them, and they certainly answer splendidly to the
appeal. The singing, in its fulness and breadth, is a
growth, and the fruit of time as well as of enthusiastic
work. It demands also unceasing activity. To rest is to
retrograde, for the congregation is perpetually shifting.
At a time when unison singing is being so widely
recommended, and the decadence of the congregational
voice is so generally admitted, it is worth the while of
psalmodists to visit Lozells Chapel. Here, at least, is a
congregation singing in parts without any accompaniment,
and doing so with life and spirit, and with evident enjoy-
ment and profit.
THE ST. CECILIAN MOVEMENT.
[I am indebted for this sketch of the rise of the St.
Cecilian Societies in the Roman Catholic Church to Mr.
Joseph Seymour, organist of St. Andrew's, Dublin, and
editor of the “Lyra Ecclesiastica.”]
A SHORT sketch of the history and principles of the
"Societies of St. Cecilia" which have been established of
late years at home and abroad by the Catholics, “ for the
promotion and cultivation of true Liturgical music,” will
be of interest to all who believe that Church Music, like
Church architecture or Church oratory, should be a thing
essentially different from its namesake and relative in
secular art. Wherein the essential difference lies in
architecture and oratory is pretty generally appreciated ;
anomalies in building and decoration have given way in
most cases before an improved taste, and an appeal to the
mirthful or to the sensual feelings, however frequent on
public platforms, stage, or court of law, is surely not to
be heard from the pulpit. But that music, both vocal and
instrumental, of a profane and sensuous style is to be
heard accompanying the Divine worship is too true
(especially of the Catholic Church); and unfortunately
the greatest and most formidable obstacle in the way of
reform which the Society of St. Cecilia has taken in
hand with the authorisation of the Holy See, is that this
STUDIES IN WORSHIP MUSIC.
pernicious system has its apologists and admirers amongst
musicians of talent and genius—a genius which will not
bow to liturgical rules-and in the great majority of the
so-called dilettanti, to whom much of the working of
church choirs is entrusted.
To give even a short history of the Societies of St.
Cecilia one must go back for a moment to the days of the
famous Council of Trent, 1563. The Tridentine Fathers
were occupied during several sittings in discussing a
recommendation for the entire abolition of "figured”
music * in Divine Service, in consequence of the abuses
which had crept into it. These abuses were to a certain
extent identical with those with which the Cecilian
Societies of to-day are doing battle: namely, the
imitation of a profane style, the introduction of secular
melodies, and the alteration of the liturgical words to suit
the music. In the complicated vocal counterpoint which
then flourished the words of the liturgy were so obscured
by the fugal progression of the parts as to be in some cases
quite unintelligible to the hearer, which was also rightly
esteemed an abuse.
A sub-committee of eight Cardinals, amongst whom was
St. Charles Borromeo, afterwards Bishop of Milan, was
appointed on the termination of the Council to investigate
the matter, and they associated with themselves an equal
number of musicians, amongst whom was Christian of
Ameyden, then a singer in the Papal chapel. After much
deliberation it was resolved to entrust to the Choir-master
of St. John Lateran, the famous Gioranni Pierluigi da
Palestrina, the composition of a mass in which the
*" Figured music,"—the “ Canto figurato” or polyphonic
Counterpoint of that era, as distinguished from the “Cantus planus"
or plain Chant known to us as “Gregorian,” which was to be
retained.
THE ST. CECILIAN MOVEMENT.
contrapuntal or fugal treatment should not obscure or
disarrange the liturgical words, and on this trial the fate
of chorus singing was to depend.
This was in February, 1565, and two months later
Palestrina had completed three masses for the great trial,
which took place on the Saturday after Easter, in Cardinal
Vittelozzo's palace, in presence of the Eight Cardinals and
Eight Musicians of the Committee.
It was unanimously decided that the compositions,
especially the historic Missa Papae Marcelli, as it was
subsequently entitled, satisfied all the requirements of the
Council, and they were accordingly adopted as models for
Church compositions, a position which the Societies of St.
Cecilia accord to them at the present day.
The Papae Marcelli mass is not unknown to the
London public, as it has been produced by the Bach Choir
under the direction of Mr. Goldschmidt, and by the
Cambridge University Musical Society under Dr. Stanford,
and even in this age of musical liberalism commanded
public approbation if not enthusiasm quite apart from its
archælogical interest; whilst at the Cecilian Societies'
festivals it is a cheval de battaille which they never tire of
bringing to the fore. Did I not fear to digress too much
I would quote here the opinions of Mendelssohn, Thibaut,
Fetis, Choron, Bellerman, Richard Wagner, W. H.
Gladstone, and many others on the superiority of the early
a capella style of Palestriną and his disciples to any other
style of harmonised music for Church purposes.
The first reform of Church Music was carried out with-
out difficulty, and Palestrina was hailed as the saviour of
the Canto figurato, and honoured with the title of “Prince
of Musicians," which was sculptured on his grave.
But musical knowledge progressed, and the new science
of harm ony brought into favour many a combination of
74
STUDIES IN TVORSHIP MUSIC.
sounds previously unknown or rejected, from the first
innovations of Monteverde down to the perfecting of a
complete instrumental system two centuries later by
Mozart, Haydn, and Beethoven. To write for the opera,
instead of for the Church, became the composer's ideal of
what was most glorious, and also, no doubt, most profit-
able. Unfortunately little or no effort was made to keep
the two styles distinct; religious and profane music, like
the other arts, were confounded, and any protests made
had little effect against the seductive charms of novelty.
Accordingly, at the period which I have now reached
the state of Church Music had arrived at a pass compared
with which that which the Council of Trent had under-
taken to reform, was dignity and decorum itself.
The words of the service were curtailed, supplemented,
changed, omitted, or repeated ad nauseum, at the will of
the composer, so that the flow of his ideas should not be
checked, and their very sense was ignorantly altered if the
maestro di capella preferred them to be inverted. As to the
music itself it was in no way to be distinguished from that
of the theatre; its chief characteristics were the same
— the dramatic solo or sentimental duet riveting all
attention, and extending to the extreme limits of the
voice, with trills ad lib., &c. &c., dance measures in the
Kyrie Eleison and Agnus Dei, military marches inter-
fiddling (as Wagner describes it) in the orchestra, when
the same was not employed in startling effects. These
were the chief features of a style of Church Music which
in this and the last centuries has been the admiration of
the unthinking world.
I come at last to the establishment of the Society of St.
Cecilia.
THE ST. CECILIAN MOVEMENT75
OVEMENT
.
Repeated briefs of the Popes condemning the irreligious
nature of the “figured” music in general use, and
enforcing the laws of the rubrics on musical service, had
produced but little practical result, owing perhaps to their
want of definiteness, the choirs being for the most part in
the hands of men ignorant of the liturgy and rubrics.
The Gregorian, it is true, continued to be sung side by
side with the theatrical solo, but it was sung without
enthusiasm or care, the secret of singing it well was lost,
and it had fallen into discredit even with the Clergy,
who had become in many cases more secular in musical
taste than the laity themselves. The Palestrina style
pleased no longer, except during Holy Week, when
thousands thronged to Rome to hear it sung in the Sistine
Chapel, and having marvelled at its beauties for one week,
returned with greater appetite for the highly-seasoned
fare provided by their own choirs.
Dr. Proske, Canon of Ratisbon Cathedral, and Herr
Kapellmeister Mettenleiter of the same town, may be
called the fathers of the Cecilian movement. The former
by his publication in score of the manuscripts of the Papal
Choir and other libraries, under the title of “Musica
Divina,” * containing numerous compositions of Palestrina,
Vittoria, Orlando di Lasso, &c. &c.; and the latter by his
“Erchiridion Chorale," + paved the way, and made
possible the foundation by their gifted pupil, Dr. Witt, of
the “Cecilien-Verein." Franz Witt, a Bavarian priest
and choir-master, already known by his powerful com-
positions for the Church, wrote and published a series of
letters “on the present state of Church Music in Lower
Bavaria,” and succeeded in calling the attention of the
*" Pustet, Ratisbon,” 4 vols., commenced 1853.
+ Pustet, Ratisbon," 1853.
76
STUDIES IN WORSHỊP MUSIC.
Bishops and Clergy to the unfitness of modern so-called
Church Music to fulfil its duties. In 1868 the Cecilien-
Verein was founded under the presidency of Dr. Franz
Witt, and two years later obtained the formal sanction of
the Holy See. Ten thousand members were speedily
enrolled. Musicians set to work to amplify the catalogue
of approved compositions, which now numbers upwards of
a thousand works, and the moveinent spread from Bararia
is almost universal. In all the Cathedrals throughout the
Rhine-province and South Germany, the dramatic solos,
the scandalously gay (as Mendelssohn called them)
“Kyries” of Haydn, and the sentimentalities of Mozart,
have given way to the pure and elevating strains of the
Palestrinesque school and the solenn Gregorian chant,
and in the smaller churches, the feeble attempts at the
great compositions by an insufficient or incapable choir, are
replaced by masses in 2, 3, or 4 parts, in the style now
known as “Cecilian Music,” by contemporary composers,
simple, decorous, and of great musical merit. In 1876
the Dutch Society of St. Gregory was formed, in 1874
the American Society of St. Cecilia, in 1878 the Irish
Society of St. Cecilia, and subsequently Societies in
Belgium, France, Italy, Austria, and Spain. No less than
24 monthly periodicals are devoted to the Cecilian Reform,
which, in spite of active and passive resistance, can claim
to be considered a success, as its principles have been
recognised by those highest in authority on such matters,
while its practice, if it did, or do, disappoint the
o worshipper” who comes to church to be entertained, on
the other hand has the hearty commendation of serious
The Cecilian Society's principles and work may be
summarised in the following sentences taken from the Lyra
THE ST. CECILIAN MOVEMENT.
77
Ecclesiastica (the Irish Cecilian Bulletin) of January,
1884:-
I. "The true music of the church is the GREGORIAN
CHANT.
II. Of all harmonised music approved by the Church
and written in accordance with its Liturgy, the most
ecclesiastical in its character is that of the Italian
School of the 16th Century and best known as the
PALESTRINA SCHOOL.
III. The florid style of so-called Church Music
abounding in solos and torturing the liturgical words,
as exemplified in the more florid masses of the HAYDN-
MOZART School, is unecclesiastical in character and
unfit for the Church's service.
IV. We approve of and warmly recommend the com-
positions of the Modern CECILIAN School, which
combines the traditions and spirit of the music of the
ages of faith with the resources of modern music.".
"At the time when our Society was formed nothing
was more usual than to hear at Mass theatrical solos,
adaptations from operas, languishing ariettas, sentimental
66 Tantum Ergos," overtures and arrangements of profane
music on the organ. Such profanations of God's Temple it.
was the object of the Society of St. Cecilia to banish, and
wherever the principles of the Society of St. Cecilia have
gained a footing, such profanations have been banished,
we trust irrevocably, and decorous music breathing piety
and reverence for God's house has taken their place. Is
not this a result worth striving for, and is not this a
cause worth joining ?”
PRESBYTERIAN CHURCH MUSIC. *
It is a strong proof of the vitality of religious feeling in
the Presbyterian Church that so keen a contest rages over
use and wont were content with a feeble and passive
protest against innovations; if the younger and reforming
spirits were satisfied to hint at reforms which they had not
zeal enough to carry through, then we might indeed say
that religion was in a bad way. Life, though it brings
conflict sometimes is better than deadness, and universal
agreement in details is a thing not at all to be desired.
What is, however, most earnestly to be desired is that
we should approach this question of worship-music in a
large and devout spirit, scorning littleness and repartee,
striving to rise to high ground, and to discover the
ultimate principles on which the application of music to
worship rests.
It has been said, for example, that Presbyterians ought
to make their services more artistic and musical, because
the young people in the towns are going off to the
Episcopal churches, where they can get these things.
This seems to me a very poor argument. If, as I believe,
* An address delivered at Glasgow, February 1883.
PRESBYTERIAN CHURCH MUSIC.
79
it is right that we should freely admit art in so far as it
serves the ends of Worship, then let us advocate its
introduction upon the distinct basis of principle, and not
because we fear a stampede.
Again, I have read that organs ought to be allowed in
churches because David played the harp; and I have seen
special stress laid upon the fact that one of the earliest
Scottish psalters has on its title-page a picture of the
Psalmist outraging Presbyterian tradition by giving the
Psalms with instrumental accompaniment. All this
seems to me mere trifling. If organs are lawful and
expedient, it is not because their counterparts were used
in the Temple, but because they help to kindle heart and
voice in God's praise. If they are unlawful and inexpe-
dient, it is not because Presbyterian tradition is against
them, but because they are not found to aid our worship.
What is the real apology and justification for the use of
music in worship? This brings us face to face with the
two great divergent theories of worship-the Ritual and
the Puritan. The Ritual appeal to the senses, the Puritan
to the soul. In the one you have the sight of a gorgeous
building, and an altar blazing with light; the sound of
bewitching music; the smell of incense; the touch of holy
water; the taste of the wafer. In the other, in its
purest form, you have the senses completely ignored, the
forms of worship, such as they are, appealing straight to
the intellect and the soul.
The Ritualist treats man as if he were an animal; the
Puritan treats him as if he were an angel. Unfortunately
for the theories of each, man is neither : he is a mixture
of both. The fact that we cannot escape the influence of
the senses ought to be accepted frankly by the Puritan;
while the Ritualist ought to recognise the debasing effect
of the sensual method. The movement in the Puritan
80
STUDIES IN WORSHIP MUSIC.
churches, both in Scotland and England, during the last
thirty years, has been due to the discovery that the senses
must at least be conciliated if the soul is to be free for
higher flights.
worship rests seems therefore to me to be in the highest
sence Utilitarian. Does it quicken and deepen religious
feeling, and aid in its expression ? That is the question.
It is right that our esthetic sense should be satisfied; but
this is not enough. Nay, if any style of music, vocal or
of sweet sounds, it is dangerous to worship. Music must
help worship, and indeed can help it, but music must
never be a substitute for worship.
So much by way of clearing the ground. : What, at
present, is the Church music question in the Presbyterian
Church ?
That the singing should be congregational is universally
conceded. Wherever I speak on this subject, in England
or elsewhere, among Churchmen or Nonconformists, I find
a hearty and even enthusiastic assent to my assertion that
in Divine worship the people ought to sing themselves.
The rise of musical taste, and the cheapening of good
the desire of the congregations for plain, rich, and general
common praise in Divine service. We do not want on
Sunday in God's house a feeble attempt to compete with
the concert-rooms where we have been in the week. We
talk of attracting people to church by musical perform-
ances, but in my experience there is nothing so attractive
as really good congregational singing. People, I believe,
would rather sing themselves than be sung to.
Unfortunately, congregational singing is difficult to get,
and almost as difficult to keep when you have got it.
PRESBYTERIAN CHURCH MUSIC.
81
The elements of which it is built are perpetually decaying,
and must be constantly renewed. The end is, however,
worth the trouble. Who has not felt his spirit thrilled
and melted by a psalm or hymn sung from the heart by a
great congregation ? Who has not felt his spirit checked
and chilled when, after an inspiring sermon, the praise
has fallen flat and coldly upon his ears ? Why is not the
latent power of song that exists in every company of
worshippers more strongly realised ? If we could but feel
what a devotional force lies idle or is imperfectly developed
in our congregations, we should spare neither time nor
money to awaken it!
The battle of psalms versus hymns is pretty well over,
in Scotland at least. In a section of the Presbyterian
Church in America the anti-hymn party are still vigorous.
In fact, if you want to read up the subject at the present
day you must go to America. I have recently got hold of
a number of the publications of the anti-hymn party there,
the titles are enough to show their character: “God's
Songs, " " The True Psalmody," - The Bible Psalmody,"
“Talks on Psalmody," "The Inspired Psalmody,” “Christ
in the Psalms," " An authorised Psalmody," &c. There
is also published at Troy, U.S.A., a monthly paper, " The
Psalm Singer," devoted to the advocacy of the exclusive
use of the Psalms in Praise. Its Editorial staff, we are
told, numbers nine able men representing Psalm Singing
Churches in America and the British Isles, and two more
cditors are expected from Holland and the Waldensian
Church. It is marvellous that so many books should be
necessary to prove what the authors consider is as plain as
that 2 and 2 are 4, namely that “the songs contained in
the Book of Psalms, and they only, have been given and
appointed by God to be used in singing His praise, and
that it is the will of God that no other songs should be
STUDIES IN TORSHIP MUSIC.
used.” It is to be hoped that these books may have a
wide circulation, and that their perusal may prove to
others, as it has proved to me, that the position taken up
by the authors is inconsistent and altogether untenable.
As to the practice of the Early Christians in the matter, I
lately consulted Canon Farrar, who knows something
about the subject, and he replied “the Early Christians
most undoubtedly sang other hymns than the Psalms."
But, as I have said, this controversy is almost dead in
Scotland, Christian common sense having won the day.
What we shall sing is fairly agreed upon: there
remains, however, much diversity of opinion as to how we
shall sing, and what musical aids to our worship shall be
allowed.
First, a word as to prose chanting. I say nothing about
singing a hymn to a chant, which is a favourite practice
in Scotland, because this is not chanting at all. Chanting
is unmetrical, and herein lies the difficulty. Regular
rhythmical pulsation, which helps a congregation to keep
together in hymn-tune or anthem, is wanting in the
reciting tone of the chant. Chanting, therefore, must
always be more difficult than singing, and if it is really
desired that the congregation, and not the choir only, shall
join in the exercise, only a few psalms or other Scripture
passages and only a few chants must be used, so that the
people may know the words and the pointing by heart.
Good congregational chanting is seldom or never to be
heard. Choirs chant, but not often the people themselves.
Moreover, nearly all the choir-chanting we hear is a
disgraceful helter-skelter. These undoubted facts are
enough to make us pause in adopting the practice of prose
chanting. It is a thing delightful in theory, but far
from delightful in ordinary practice.
PRESBYTERIAN CHURCH MUSIC.
83
Next, as to the question of choir and congregation.
The growth and the improvement of church choirs is the
most striking feature of the last thirty years in the history
of psalmody. Mr. W. H. Monk, the editor of “Hymns,
Ancient and Modern," once made this remark to me in
conversation : "The better the choir-singing in any
church, the worse will be the congregational singing." I
was at first disposed to dispute this assertion, but reflection
and observation have convinced me, very unwillingly, of
its truth.
One is reluctant to say a word that might damp the
unselfish devotion of so many organists, choir-masters,
precentors, and choir members. How much taste, skill,
and time is spent in preparing choirs for the psalms,
hymns, tunes, and anthems of Divine service! This
earnestness is the very life and hope of psalmody, if only
it can be so manipulated as to promote the singing of the
congregation and not to supersede it. We all feel the
importance of training a choir well-expression to enforce
the words, pronunciation to let them be heard, voice
culture to secure a smooth and blended effect, so that we
may give our best to God. Yet what is the common
common result is that the people cease to sing. I myself,
when I am in a church where there is a fine choir, feel
my voice arrested. Others are silent round me, and it
seems profane to disturb the balance of voice, and the
part-song-like finish of the music. I stand and listen, or
am content with a gentle hum that satisfies my conscience
without disturbing my neighbours.
This is all very undesirable, and it is an undoubted fact
that the musical revival of to-day has often taken a wrong
direction, a direction that is injurious to congregational
singing. We do not want in our services a Sunday
84
STUDIES IN TVORSHIP MUSIC.
concert. We want a full and general chorus from the
congregation. Can we so use choirs as to help us to get.
this ? May they be so organised as to stir the congre-
gation, and not to lull it to sleep ?
I regard a choir as indispensable. The ideal of the
advocate of congregational singing is, of course, that the
congregation should be the choir. But even in churches
which approach most nearly to this ideal, the sịn ging
must always be led by an earnest musical minority who
need rehearsing, and this is still the virtual choir. The
question of where this earnest minority is to sit during
service is a separate and very important one. I know one
church in England where the choir is entirely dispersed
among the congregation, and where, as a consequence, the
sound of four-part harmony comes from every side in a
way that is most inspiring and contagious.* Directly you
begin to concentrate the best singers at one end of the
church, the congregation begin to shift their responsibility.
Few churches, I suppose, will adopt such a radical plan as
«lispersing the whole of the choir among the congregation.
If this cannot be done, then let the majority of the choir
be dispersed, and the larger the majority the better will be
the singing. A choir, using the word in this larger sense,
is the very life of congregational singing; and the life of
the choir is the elementary music class. This is as
important as fresh fuel to a steam-engine, and no church
should be without one..
If people will not have a dispersed choir, but prefer the
ordinary plan of a well-drilled musical body distinct from
the congregation, then how can such a body be used so as.
least to hinder the congregational voice? The best way,
I think, is to have one piece in each service sung by the
* See « Psalmody at Lozell's Chapel,” ante p. 64.
PRESBYTERIAN CHURCII MUSIC.
83
choir alone, the congregation devoutly listening. This will
satisfy the musical ambition of the choir, and we then
may demand that the rest of the service music should be
thoroughly plain and congregational. This separation of
the service music into two kinds is carried out in America.
It gives the choir work to do, and keeps them together.
It is a sort of safety valve which will preserve the
congregational singing from entire destruction.
I am very glad that precentors are coming down from
their pulpits and turning themselves into chóir-masters.
They can do much better work in that way for congrega-
tional singing. The sound of a tenor voice prominently
singing the air an octave below pitch is not to my taste,
and if the choir be trained to lead it is not necessary.
Increased attention is being paid to the mating of tune
and hymn; the utterance of religious sentiment through
musical expression is being more studied; and pronunci-
ation is being looked after. These reforms have come none
too quickly, for congregations advance rapidly in musical
taste. Let us remember that culture in music, divorced
from the devotional spirit, is not only a mockery but a
failure. Expression can only be musically true and
satisfying if it is inspired by and naturally springs out of
the thoughts that are being uttered. Let our psalmody
leaders try to feel deeply if they would rise to a higher
musical level.
The church music question of greatest magnitude at the
present day relates to the organ. At the very mention of
the word the mildest person in this room becomes a partisan,
so that a dispassionate study of the pros and cons of the
matter is exceedingly difficult. The opponents of organs
lave entrenched themselves in a citadel, and they seem to
be of opinion that if their citadel falls, the whole order of
Presbyterian worship falls too. Meanwhile, the besiegers
86
STUDIES IN WORSHIP MUSIC.
-armed, I suppose, with organ pipes instead of trumpets
—are doing their best to bring down the walls. The
capitulation is only a question of time.
Yet though we may smile at the heat and exaggeration
which this controversy excites, there can be no doubt that
the change from unaccompanied to accompanied singing is
a serious and considerable one, involving great possibilities
of harm to what we all so earnestly desire-congregational
singing. Let us discuss the matter on practical grounds,
setting aside arguments about lawfulness which eren
religious men feel to be out of harmony with the spirit of
the times.
What is the effect of an organ upon congregational
singing? I think it makes the act of singing easier,
especially if you are trying to sing a part. The notes you
want are in the atmosphere. Even though the instrument
be so softly played as not to be heard, it is felt in the
support it gives to the voices. I do not think it can be
said to prevent flattening. Most of us have had painful
experience that a congregation will flatten in spite of an
organ, and will go on verse after verse, at its own flat
pitch against the instrument in a way that tortures the
ear. Flattening is not so frequent with an organ as
without, but the organ does not cure the evil.
It is this function of affording a back-ground for the
voices that an organ should perform. It should never
attempt to lead. Many people seem to be of opinion that if
an organ is introduced to a church the singing will at once
improve, and need never trouble them again. What folly!
As well might they expect to increase the piety of a
congregation by building a tall steeple. Just as much
pains must be taken with the vocal praise with an organ
as without. There must be choir-practices and elemen-
PRESBYTERIAN CHURCH MUSIC.
87
tary singing-classes and never-ceasing work if a full and
. harmonious offering of praise is to be maintained.
So far we have spoken of organs as they should be used.
But how are they commonly used in England, where they
are universal and long established? They are often
played so loudly that the choir and congregation chirp like
birds in a thunderstorm. Moreover the organ is a very
noble instrument, which engrosses all the energies and
sympathies of the player. The organist, in ninety-nine
cases out of a hundred, is the choirmaster, and does what-
ever other musical work is done in the congregation. He
is absorbed in his instrument, and, in consequence, choir-
training is neglected, and congregational training never
thought of. Singing becomes shouting, the words are
drowned in a muddy sea of organ tone, and the general
result is noise, not music.
The organ is a good servant, but a bad master, and the
temper of many of the intelligent opponents of organs is
this-Let us bear the ills we have rather than fly to others
that we know not of. I can assure you that the example
of what has happened in England is enough to make me
feel much sympathy with this position.
One word to the opponents of organs. A mere negative
attitude is not enough. You must have a positive policy,
and show people that you can produce an unaccompanied
service which satisfies the ear and the devotional
feeling richly and deeply, falling like the echoes of a
purer worship upon the weary and distracted spirit.
The work necessary to create and sustain a service of
this kind is far greater than for one which is accompanied.
But it is work in aid of devotion, and if your opposition
to organs springs really from your zeal for purity of
Worship, here is your opportunity of proving it.
83
STUDIES IN WORSHIP MUSIC.
There are three chief forces that go to make or mar the
service of praise-minister, people, and precentor. The
ministers have frequent opportunity of expressing their
views on psalmody; the opinions of the congregation are
echoed in the newspapers and in general conversation;
but the precentors have but few opportunities of making
themselves heard. Yet they have a practical acquaintance
with the subject which no others have; they are at the
front as workers; they know only too well how the ideal
differs from the real, and what struggles and disappoint-
ment beset the path of a psalmody worker. I enjoy the
friendship of many Presbyterian precentors, and I have
thought that it would make this lecture practical and
straight-hitting if I could persuade some of them to
contribute their opinions as to the hindrances they meet.
I have succeeded well, and shall give you some passages
from the letters that have come in answer to my appeal.
A precentor of an important church in a Scottish city
writes :-
“ First as to ministers. For nearly thirteen years I have been
leader of psalmody in this church. During five of these years we
had two ministers; during the rest of the time, one. We have a
meeting for the practice of psalmody every Friday evening (holidays
excepted), besides an elementary class every year, and extra meetings
before our annual recital or concert. In all these years we have only
been visited twice by a minister at our ordinary meetings. My last
elementary class met at seven o'clock on Fridays, an hour fixed to
suit young people attending school. Our minister in announcing
the class, spoke of the benefits to be derived, and urged parents to
send their children. He has a family of young people himself, but
not one of them ever appeared. Nearly every Sunday, prayer is
offered up for preachers, Sabbath-school teachers, tract distributors,
sessions, and Christian workers. Though I have been a precentor for
over twenty-five years altogether, I have only twice heard the precentor
prayed for. From their practice, I have been forced to the conclusion
that most ministers regard psalmody as something that may be used
PRESBYTERIAN CHURCH MUSIC.
89
or left out as occasion requires. If the sermon is short, we are sure
to have a lot of singing; if it is protracted, the last psalm or hymn
is shortened or left out. The duty of sending a list of the Sunday's
psalms and hymns to the weekly practice is also frequently neglected.
Of late we have often been called upon to sing tunes at first sight in
church."
2
After noticing that elders and managers keep aloof from
the association, my friend mentions that his Psalmody
Association has seldom numbered less than 100 members,
though with a congregation of 1,200 members, besides
adherents, he does not think this a fair proportion. He
proceeds :-
“With such an example from those in authority, it is hardly to be
expected that the congregation as a whole will be much interested in
psalmody. Few congregations, I believe, could muster a greater
number of sight-singers than we, and yet I am sorry to say the
congregational voice is neither so strong nor so hearty as it once was,
and should be. The fashion of having an organ and choir to do'
the singing seems to be killing all sense of responsibility in this
matter. How else can we account for so many whom we know to be
capable, standing listless and idle during praise.
“The introduction of so many new tunes has also injured
congregational interest very much. During 1882 I conducted the
Psalmody at 99 regular church services, and in these 133 tunes and
18 pieces (or sentences) were made use of—too many for any
congregation to keep in full song. The manner in which our hymn
book is got up-every tune having its own hymn--compels the use
of a great many tunes. The style of tune now generally advocated
is another hindrance. Most of them are so bald, so void of melody,
so wooden that it is little wonder that people don't take to them
readily.
“Professor Macfarren says that all lightness, all grace, all freedom
in melody, result from a judicious use of passing notes:' but passing
notes have been tabooed by the editors of our collections of tunes.
The alteration of harmonies has also hindered us considerably.
When an old and standard tune like · St. Paul's' or · Martyrdom' is
eung with new harmony, the effect is like the twenty pipers playing
each his favourite tune at the same time and in the same room, fur
90
STUDIES IN WORSHIP MUSIC.
the elder people sing the old harmonies, and the younger ones the
new.”
Another precentor, who confesses that he is suffering
from an attack of melancholy, writes :-
"If managers, deacons, and elders of churches were to expend
upon choirs what they seem happy to lay out upon organs, what an
overwhelming change would there be in the service of praise in the
house of the Lord! Is it not a fact that such perishable things as
preaching and praying seem, in a large number of Scotch churches,
to be considered the worship of God; whilst the praise of God, which."
is everlasting, which is the connecting link between time and eternity,
is left out in the cold—miserably perishing for lack of sustenance."
A third precentor writes :-
“In choosing organists and conductors of psalmody, too little
attention is paid, in my opinion, to teaching power. The question
of teaching is, indeed, rarely mentioned. I think that playing or
singing should be a secondary matter to the power to teach and to
attract young people.”
Here we have a new hindrance brought forward by a
fourth precentor :-
“ The chief thing that I have to complain of is the pride of some
of our people in Scotland. A great many people, in country districts
especially, if they occupy a social position a very little above the
working classes, think themselves much superior, and will not
associate with them. You have no idea what a hindrance this is to
the improvement of psalmody in Scotland. Surely we should all be
in the same spirit of humbleness when we meet in church to worship-
the same God!”
Speaking of a tune-book recently issued by the section
of the Presbyterian Church to which he belongs, the same
writer says :-
“I do not care for the arrangements. In a great number of the
tunes the basses are far too low to be effective, and dissonances and
double dissonances are too frequently used for congregational singing.
In the whole, the work of the organist is more apparent than that of
PRESBYTERIAN CHURCH MUSIC.
91
the choir-master. I think it is also a mistake to set a tune to each
hymn in all cases. There are a great many of the tunes, set to good
hymns, which will never be sung, for the reason that they are not
worth the singing. Why not have the leaves of the hymnal cut, so
that the choice of tune may be free?”
A fifth precentor writes :-
“ Some of the ministers are very careless in the selection of hymns.
It is not unusual for minister's who come to our church to preach to
leave the precentor to choose the hymns, saying "take any you like.'
When this is said to me, I venture to ask the subject of the discourse,
so that there may be some unity in the service. Many of the Psalms
I regard as unfit for singing. Our service of praise would be im-
proved if only Psalms of praise, of penitence, or such as contain some
expression of feeling, were used in singing. It is the habit of our
minister to begin at the first Psalm and go straight on in regular
order, no matter what the text may be. Thus we sometimes get a
mournful sermon and a joyful Psalm, and vice versa.
“As to the congregation, I find they will not respond to the
invitations given from week to week to attend a psalmody class. If
anything is to be done, it must be with junior classes. I have great
faith in training the young, but find it difficult to make the work
such as will draw them. If a few pounds were spent every year on
prizes for regular attendance and for sight-singing, it would bring
them out. Kirk sessions, however, don't care to spend much money
on the musical training of the congregation. They think they have
discharged their duty when they have paid the precentor's salary.
I myself gave prizes one winter, consisting of the Psalms, hymns, and
tune book which we use; but I could not afford to continue them.”
In opposition to what I have read about new tune-
books, a sixth precentor says :-
"I find that a large book with plenty of variety and good tunes is
a great help to sustaining of interest in the psalmody. The choir
sings with more life and feeling, and this in turn is caught by the
congregation.”
My last correspondent writes with much energy and
freshness. He says :-
"A much greater interest is now taken by ministers in the service
of praise than formerly, and it is a common thing to find them visiting
STUDIES IN WORSHIP MUSIC.
the practice ineetings and giving a word of encouragement. This
has a greater effect in stimulating the young than some are aware
of.
"Less progress has, I think, been made by sessions than by
ministers in recognising the importance of good congregational
singing. Instead of encouraging their precentors and choirs, they
seem to think that one of their special duties is to keep a watchful
eye over them, and to miss no opportunity of putting their foot
upon them. This, I believe, along with the natural youthful
unreasonableness of choirs, is one fruitful source of what are termed
choir rows.
“For example, some matter of detail has to be arranged about
choir seats, change of practising night, a soiree, or some other minor
affair. The matter is referred to at a meeting of session, and after
conversation the clerk is requested to drop the precentor a note,
asking him to do so and so. The clerk then writes a letter, using
the most irritating phraseology which accident or design could have
suggested to him. The precentor feels the edge of the censorial
knife, and at the next meeting of the choir reads the letter with a
tone of injured innocence. This letter is hardly finished when
several members are on their feet, bursting with eloquence, and in
the space of five minutes the explosive powers of the choir are fully
developed. A strike is at once agreed upon, but as several members
are absent, they must be seen and prevented from going to the choir
seats on Sabbath. This necessitates a recapitulation of the affair
with interlude' and episode.' On Sabbath there is no choir. On
Monday the minister calls them together and lectures them. Some
eloquent member replies, giving his version, but the story has taken
such dimensions, like the snow-ball that gathers with rolling, that
the minister can scarcely recognise it, though he presided at the
meeting where it originated. The tangled skein takes a long time
to unravel, and some of the knots are so obstinate as to require
cutting. The almost invariable result of these affairs is that a torrent
of wrath descends on the head of the precentor from all sides, and he
is made the scapegoat who has to carry the troubles, or swallow them
as he pleases. If members of session would only remember that they
themselves were once guilty of the offence of being young, many
troubles would be avoided.
“The greatest complaint against congregations is, I believe,
apathy. They want stirring up. This can be done in endless ways.
PRESBYTERIAN CHURCH MUSIC.
93
Your lectures, for instance, stir up from the centre outward, acting on
those to whom you speak. They, in turn, stir up their pupils and
the outside world. Ministers interested in the service of praise may
in like manner stir up their elders, and the elders the people.
Personally I hold a somewhat different theory, and practise it. It
may be called stirring up from the outside inward. I try to gain
the hearts of the children and young people, believing that they rule
the mothers, that the mothers rule the fathers, and the fathers the
Church. A plan at present on trial in the church to which I belong
is to have occasional joint meetings of the Psalmody Association,
Literary Association, and Bible Class. This really includes all the
young of the congregation above Sabbath-school age. The first
combined meeting is a lecture on Musical History, with illustrations.
This plan will act and re-act. The Psalmody Association will confer
pleasure and profit on the others, and will draw sympathy from
them.
“ One complaint against congregations is that they consider pre-
centors their special property, and imagine they have a right to.
criticise them musically, mentally, socially, &c. A chapter on this
might be amusing, but I do not know that it would bear much upon
the Church Music Question.'
- A few months ago the Psalmody Committee of the General
Assembly of our Church issued a circular to ministers containing a
number of questions with the object of guiding them in the issue of
a new psalter. Our minister asked me to reply in his name, which
I did. I also took the liberty of writing to the Committee that a
rich mine of musical experience and knowledge was neglected by
them when they took no counsel of their precentors. This is a.
subject on which many able precentors have just cause of complaint.
“The want of uniformity in the tune-books of the Presbyterian
Churches is very much to be deplored. I remember when the
• Scottish Psalmody' was used in all the Presbyterian Churches.
pocket-book. Scores of young men carried it in their pockets all.
the year round, and used it on all kinds of occasions. To do the
same thing now, one would have to carry a wallet.
- Finally, let ministers acquaint themselves thoroughly as possible.
with the subject. Let church sessions endeavour to look at the:
94
STUDIES IN WORSHIP MUSIC.
subject in a reasonable way, and act kindly and judiciously towards
the young. Let members of choirs control their impetuosity when
their seniors differ from them. Let precentors leave no stone un-
turned to make themselves masters of their work. so that they may
stand head and shoulders above their classes. And let us all be of
one mind in remembering that the work is the Lord's.”
I adopt this practical summary as my own, and close
this article with a hearty “Amen” to its words.
gð
MUSIC IN THEOLOGICAL SCHOOLS.
YINA
UH
TAAT clergymen and ministers are the better for musical
knowledge is a proposition which scarcely any will dis-
pute. The argument of those who defend the present
general exclusion of music from the curriculum of Theolo-
gical Schools is that the students are already overburdened
with other studies. In order to discover as accurately as
possible the present relation of Theological Schools to
music I recently addressed a circular of enquiry to 80
such institutions in England, Wales, Scotland, and Ireland.
The following list of 54 schools that replied to my circular
will show that the information I have obtained is drawn
from a broad basis :-
ROMAN CATHOLIC : 2.
St. Joseph's Coll., Mill Hill. St. Charles's Coll., North Kensington.
CHURCH OF ENGLAND: 15.
Gloucester.
Church Miss. Coll., Islington.
St. Aidan's, Birkenhead. St. Peter & Paul, Dorchester.
Wells.
St. Stephen's House, Oxford.
Lincoln.
Salisbury.
St. David's, Lampeter,
Chichester.
Truro.
St. John's Hall, Highbury. Cambridge University.
St. Augustine's Canterbury.
SCOTTISH EPISCOPAL Cuurcu: 1.
Edinburgh College.
STUDIES IN WORSHIP MUSIC.
METHODIST BODIes: 5.
Headingley, near Leeds. Methodist Coll., Belfast.
Richmond.
Methodist Free Church Coll.,
Primitive Meth. Coll., Man-
Manchester.
chester.
CONGREGATIONALIST : 13.
New Coll., Hampstead. Spring Hill, Birmingham.
Western Coll., Plymouth. Theological Institute, Bristol..
Rotherham.
Carmarthen.
Cheshunt.
Brecon.
Airedale.
Independent Coll., Bala.
Hackney.
Theological Hall of Scottish
Lancashire Independent, Man Congregational Churches,
chester.
Edinburgh.
BAPTIST: 8.
Rawdon, near Leeds.
Metrop. Tabernacle, Pastor's.
Regent's Park, N.W.
Coll.
Bristol.
Scottish Baptist Coll.
Chilwell, Nottingham.
Rev. H. Guinness's Institutes.
Brighton Grove, Manchester.
PRESBYTERIAN : 8.
London, Guildford Square. Free Church, Edinburgh.
Magee Coll., Derry.
Aberdeen.
U. P. Coll., Edinburgh.
> Glasgow.
Presb. Coll., Trevecca.
Estab. Church, Edin. Univ.
UNITARIAN: 2.
Memorial Hall, Manchester. Univ. Hall, Gordon Sq., London.-
The general result of the enquiry is that only in 13
of the above Colleges is music or singing formally recog-
nised as part of the curriculum. The thirteen are-
ROMAN CATHOLIO :—St. Joseph's, Mill Hill.
CHURCH OF ENGLAND :—Chichester, Truro, Lampeter, Church
Missionary College, Islington, St. Augustine's, Canterbury, Salisbury,
and Wells.
SCOTTISH EPISCOPAL CHURCH.—Edinburgh.
PRESBYTERIAN:—Free Church Colleges at Edinburgh, Glasgow,
and Aberdeen ; Magee College, Londonderry.
MUSIC IN THEOLOGICAL SCHOOLS.
97
In the remaining 41 there is no official recognition of
music or singing, and in all probability the same is the
case in the 26 Colleges that did not reply to my circular.
The singing of Hymns and of the Service Music is
commonly practised, and in many cases the students meet
together for the purpose, but the music-practice or class
has no status, it is voluntary, conducted generally by one
of the students on the rather doubtful principle of mutual
improvement. I will first quote passages from a few of
the letters from Colleges where there is no official teaching
of music :-
“We do not profess to teach here all things knowable, or even all
things that it is desirable ministerial students should know. We do
not teach either music or singing. Our studies are necessarily limited
by the time at our disposal, and the capacities of frail human
nature."
“We have an organ, and our students practise singing a good deal,
but we do not teach it."
" Music does not form a part of the College curriculum, but one of
the students is chosen or volunteers to form a class for four or five
months during the nine months' session. The work of the class
consists almost entirely in working for the various certificates of the
Tonic Sol-fa College. In fact it is the prime condition of membership
that each man should have that end in view. Besides the students,
the villagers are allowed to join the classes, and many among them
have gained certificates."
"I am sorry and ashamed to say that music has never formed any
part of our course of study and training. We have of course a
musical element in the family worship of morning and evening, and
we have generally a few students in the College who can play the
organ by which our singing is led. When one of our students
happens to be enthusiastic in regard to music he will generally induce
others to join him in a little private and desultory practice and self-
training. I can do nothing more than encourage this, which I do
with all my heart. I have often supplied music sheets at my own
cost when it seemed to me that a good use was likely to be made of
them."
98
STUDIES IN WORSHIP MUSIC.
"Neither music nor singing is taught in this College, though
some of the students (who have ability), are members of the College
Chapel Choir."
“Music is no formal part of the curriculum of our College, but is
very diligently and successfully practised among the students at
voluntary hours in class rooms.”
“The students teach each other out of the classes. Most of them
know a good deal of music. Music has become a passion in many
parts of Wales, so that other things are neglected."
“We seem to have no time for it, and that is about the only
reason."
“ The students practise music and choral singing continually, and
their rendering of sacred music is increasingly effective, but they
have no regular training or instruction.”
"Musical training does not form a part of our Theological
Curriculum. There is, however, a chair of music in the University,
and theological students may or may not take advantage of the
prelections and training connected with it.”
“We have a small organ in the library which is used at morning
and evening worship, and we have never been without one or more
students who can play. Sometimes we happen to have several
students who are musical and who create some special interest in
music and singing. Occasionally, but rarely, we have employed a
teacher of singing. Still, music does not, and, so far as I remember
never did hold a place in our curriculum as an ordinary and essential
subject of study. I wish it did.”
" Music is one of the things included in a good education, which
we expect our students to attend to outside the prescribed course."
“The students take great interest in musical worship, and practise
amongst themselves much, both instrumentally and vocally.”
We have a singing class weekly for practising not only such music
as is required in public worship, but also part-songs, cantatas, &c.
The class is voluntary, but a good proportion of the students take
an interest in music; indeed, nearly all have some acquaintance with
it.”
“There is no provision for musical instruction in our present
curriculum, but the matter is engaging the attention of our
committee, and I believe that a definite resolution, proposing such
an addition to the training of our students, has been submitted, and
MUSIC IN THEOLOGICAL SCHOOLS.
99
is awaiting further consideration. I hope something in this direction
may take shape before next session.”
“We have no more than the necessary preparation of the
Gregorian Chant for the Solemn Masses, and of the melodies of
hymns, litanies, &c., used in the regular Church Services of the
year."
“Music is not taught in this College in any form. "Musical
students sing, and play the American organ, but only as amateurs.
The College is for training ministers."
“No instruction in music is provided by the Committee of the
College, but the students meet once a fortnight at the house of
a gentleman who is well skilled in music. These meetings, which
take the form of a social evening, are open to all the students of the
College. This year we have paid great attention to hymn-tunes and
chanting, and have also practised oratorio choruses by Mendelssohn
and Handel, and anthems by Goss and Sullivan. Two papers have
been read; one on “ The use of Anthems,” and the other on “The
best method of chanting." Hitherto we have managed to practise
with men's voices only; but next year we are thinking of getting
some ladies to join us."*
" Occasionally a student who is able to teach the Sol-fa system has
taken a class amongst his brethren here."
“Music forms no part of our curriculum. I wish it were other-
wise."
“ The students are, as a rule, musical, and often we have at least
one among them who trains the rest in glees, &c."
“ As a College we do not provide any musical training for our
students, nor do we take any responsibility in the matter."
“ Music is not amongst the subjects taught, though there is a
great deal of hymn singing practised. A Tonic Sol-fa class has
lately been begun for the women servants (!), but this is a private, not
a College undertaking."
"Neither music nor singing is taught in this College. It is very
desirable that it should be."
“There is no arrangement for teaching music or singing, but many
of the students are musical, and play on various instruments (piano,
11
* The effect of Handel's and Mendelssohn's oratorio choruses and
Goss's and Sullivan's anthems with men's voices only must have
been peculiar, and scarcely likely to improve the taste of the students.
100
STUDIES IN WORSHIP MUSIC.
organ, violin, and violoncello), and there are frequently practice
meetings among them in the afternoons, when hymns, chants, and
anthems are sung, and sometimes more elaborate compositions are
performed.”
At Cambridge Dr. Garrett, organist to the University,
usually gives, during Lent, a course of eight lectures on
music addressed to candidates for holy orders. The
object of the course, which is sanctioned by the Board of
Musical Studies, is “to convey such musical information
as shall enable Clergymen to exercise intelligently the
large influence over the cultivation of Music in the Parish
Schools, and its employment in the Services of the Church,
which usually attaches to their position.” No previous
technical knowledge of music is assumed. The following
Construction of the Scale. Grammar and notation of Music.
Methods of elementary musical instruction for the Primary School.
Choir-training. Speaking and Singing. Intoning. Chanting.
Anglican and Gregorian Chants. Hymnology. Service-Music.
Anthems. Accompaniment.
The fee for the course of lectures is one guinea and a
half. Attendance on. the part of candidates for holy orders
is purely voluntary. I cannot find that any similar
provision is made at Oxford.
At King's College, London, Dr. W. H. Monk lectures
on Music to Theological students. I have not succeeded
in obtaining a syllabus of his lectures.
The Colleges at which music is taught as part of the
curriculum must now be noticed. Taking the Church of
England Colleges first we find that at Wells “Instruction
in Church Music is given by the Cathedral organist.”
At Salisbury :-
“On entrance the voice and singing capacity of each student are
tried by one of our teaching staff. If the student has any ear' he
MUSIC IN THEOLOGICAL SCHOOLS.
101
then learns to take the clergyman's part in a Choral Service, and is
also duly practised in intonation and monotonation. All this has
direct reference to the services of the Church, and music is not taught
as a class-subject. We have, however, practices for our chapel ser-
vices, and also a Glee Club within the College, at the meetings of
which secular as well as sacred part-songs for men are practised.
Every man with a love and aptitude for music is encouraged and
helped in the art."
The information as to St. Augustine's College, Canter-
bury (the foreign missionary College of the S. P. G.) is
derived from Dr. Longhurst, the Cathedral organist, who
writes :-
• I have been master of the musical situation here ever since the
foundation of the College, and have taught all the students on the
fixed do system. Vocal music only is taught. The course I have for
many years adopted is-elementary music on Wednesday evenings
to the first term' men, and a general practice on Saturday for the
sacred music performed in the chapel. In addition to this I have given
a regular lecture on rudimental music every Tuesday morning for the
last two terms. Unfortunately, for the present term this has been
discontinued.”
As to the Church (Foreign) Missionary College, Isling-
ton, the Rev. Dr. Drury writes :-
"Music is a part of our regular course of studies in this College.
All the students are taught on the Tonic Sol-fa system, and with
very few exceptions, gain a fair amount of knowledge of it. They
attend two lectures a week, given by Mr. J. A. Birch, gentleman of
H. M. Chapel Royal. One lesson is devoted to training in the Tonic
Sol-fa system, the other to practising psalms and hymns for our
daily prayers. The value of the knowledge to missionaries is very
great. Many of our missionaries have been able to teach the children
in our mission stations all over the world the elements of music. In
one school at Frere Town, composed of freed slave children, the
children were, I believe, able to read tunes from the Tonic Sol-fa
notation at first sight.
Of St. David's College, Lampeter, I have the following
information :- .
The musical instruction may be divided in two parts :-(1) that
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STUDIES IN WORSHIP MUSIC.
given in connection with the services in the College Chapel, (2) that
given as part of the course for the College Certificate in Music.
(1). The Chapel Choir consists of about 25 male voices. An
hour is given weekly to the practice of hymns, chants, services, and
occasionaly anthems. The organ is played by one of the
undergraduates, who holds the organ exhibition of £15 per ann.
(2). For the Certificate (lately started): a set of lectures on the
elements-notation, keys, &c., including Tonic Sol-fa. Text-book,
Dale and Troutbeck. Last term about 20 students attended.
There will be next Michaelmas term, in addition to the above, a
class in Elementary Harmony, and a course of lectures on the
History of the Art. The examination is held at the end of Lent
Term. Examiner, Mr. Leonard James Rogers, B.A.; Mus. Bac.,
Late Scholar of Balliol College, Oxford. Instructor, Mr. E. H.
Culley, B.A., Lecturer of St. David's College, and Late Scholar of
Balliol College, Oxford.
(3). There is a Musical Society, numbering about 40 voices, male
and female, which meets weekly to practise part-songs, cantatas, &c.
At Chichester Theological College :-
“ Since the beginning of the present year, music has formed one of
the subjects of instruction. The Teacher of music is Mr. W. Dean,
a Lay Vicar of the Cathedral. Lessons are given twice a week, and
though the attendance on the part of the students is voluntary,
considerable interest is taken, and a fair proportion attend. So far,
instruction has been confined to intoning the service in rendering the
Preces and the Litany. Next term we hope to proceed to the
chanting of the Psalms."
At Truro Cathedral Divinity School, a course of lectures
on the movable do system was recently given to the
students by Rev. Harry Oxland.
At the Theological College of the Episcopal Church in
Scotland, at Edinburgh, Mr. T. H. Collinson, Mus. Bac., is
Lecturer and Instructor in Church Music. He gives 50
Lectures semi-weekly throughout the College year. The
Course of Instruction includes :-
Theory and practice of voice-culture. General Theory of Music
(rudimentary). Practice in beating and “ reading in time." Study
of Intervals ;-Sight-reading, &c. Also priest's part (Plainsong) of
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103
the Preces, Litany, &c., of the Church Services. The Musical
Course, by the action of the College of Bishops in Scotland, has
'been made a compulsory portion of the teaching of the College, and
examinations are held at least once a year, being conducted per
scriptum et viva voce.
At St. Joseph's Missionary College, Mill Hill (Roman
Catholic):-
“ Gregorian or Plain Chant music is taught systematically, as this
amateur choir, which exists among the students, occasionally sings a
harmonised mass. The practice of singing English hymns in
ordinary music is carried on daily. The singing is acquired at this
College by frequent individual practice, and hy two weekly rehearsals
on the Sol-fa system.”
Of the Free Church College, Aberdeen, the Rev. Dr.
Salmond writes :-
"A class for training our Theological students in worship music
was in operation last session. It was instituted by the Praise Com-
mittee of the Free Church, and conducted by Mr. W. Litster, a
professor of music in the city. It is intended to make this class a
regular part of our equipment. The instructions were confined to
vocal music, and were given according to the Tonic Sol-fa system.”
Of the Free Church College at Glasgow, the Rev.
Professor Douglas writes :-
“There is a musical society, which was reconstituted by Dr. Bruce
about 1880, and of which a large number of the students are members.
It meets once a week during the session, for instruction and practice,
strengthened for the latter by the presence of several ladies and
W. H. Murray, who is leader of music in one of our large churches."
I was myself present at one of the rehearsals of this
society a year or so since, and was much pleased with its
organisation. Dr. Bruce invites the attendance of ladies
residing near the College, and thus the usual mixed choir
is obtained. It is much easier to learn music in a mixed
choir than in one consisting only of men's voices. The
dispersed harmony is more easy to join in than the close,
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while uncertain intonation, which is intolerable in a men's
choir, becomes far less trying to the ear in a mixed choir.
Besides, the mixed choir represents the ordinary church
music and congregational singing which it is the aim of
the class to study.
Of Magee College, Londonderry (Presbyterian), a
correspondent writes :-
- During the past session there was a singing class in the College
conducted by Mr. Ferguson. Nineteen students attended it, and
14 or 15 ladies accepted the invitation to join the class issued by
Professor Macmaster. Next year we hope to have larger attendances
and two classes, one for beginners and one for those who already hold
the elementary Tonic Sol-fa Certificate. But until our church makes
attendance at a music class for two sessions at least compulsory on all
students, things will not be as they should. Last Assembly would
not go so far ; it merely recommended such attendance, and a recom-
mendation has about as much weight with students as the paper it is
printed on.”
The following is an account of the musical work done at
the Free Church College, Edinburgh:-
• There is a Musical Society in connection with the New College.
It is sanctioned by the Senatus, but attendance at it is voluntary, as
the class does not form a part of the College Curriculum. The class
is called “ The New College Musical Society," and the work done
each session ranges from a course of Elementary instruction, to the
practice of Four-part music for male voices. There are also occasional
lectures on Psalmody, Hymnology, &c. The general affairs of this
Society are managed by a committee of the students, but the music
is under the direction of a professional teacher."
Reriewing these statistics and opinions, we may say
first that the strongest case for musical knowledge is made
out in favour of students destined for foreign missions.
These men have to be ready to turn their hands to any-
thing, and they are largely and closely engaged with
educational work. The power to sing and to teach the
elements of singing affords indirectly a valuable means of
MUSIC IN THEOLOGICAL SCHOOLS.
105
gaining influence over the young by leading them in a
pleasurable exercise. Missionaries who have acquired
this power have repeatedly assured me of its value to them.
They have also reminded me that when a missionary first
lands in a foreign country a year at least must elapse
before he can have learnt enough of the language to begin
to preach. He can, however, practise medicine or teach a
singing class as soon as he has learnt a few common nouns
and verbs, and in doing either of these things he comes
into contact with the people, learns their ways, practises
their language, and gains an influence over them.
All that I have said of the influence over the young
which is gained by a Missionary who can teach singing
and conduct a choir, applies equally to clergymen and
ministers at home. Spiritual and charitable duties are of
course paramount, and in a few years they generally
become sufficiently absorbing, but there are often cases in
which a young curate or minister starting life in a rural
district may profitably fill up his time by some work of
this sort, if he can do it. Many and strong are the
testimonies I have had from clergymen and ministers who
have done this. They tell me that they have won the
hearts of the young people of their congregations through
music more effectively than they could have done through
any other means not directly religious. We may indeed
safely say that no accomplishment is so useful to a
clergyman or minister as music.
In Churches like the Roman Catholic and High Anglican,
where the clergy themselves have to intone, singing is of
necessity taught, and music generally holds a place of
high esteem. By far the larger proportion of my replies
come from communions of a different order, more or less
influenced by Puritan and Calvinistic tradition which is
hostile to musical elaboration. Yet the passages quoted
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STUDIES IN WORSHIP MUSIC.
above show that even in these Churches a new spirit is
stirring. It is remarkable how common the custom has
become of students meeting for musical practice under the
sanction of the authorities. In several cases tutors and
principals express regret that music is not taught; in a
few, classes for music have been formed or are in process
of formation. The great argument is “want of time,”
which is of course but another way of saying “want of
importance,” because time is found for a variety of other
studies that are placed before music. On this point a
correspondent who has recently left a Theological School
writes :-
“ There is little time for music and less inclination. The latter is
perhaps the chief obstacle, as there is plenty of opportunity of doing
a little singing, which would really be recreation, if there were any
enthusiasm on the subject. Neither professors or students are
sufficiently alive to the advantages of thorough musical training, and
the ruling officials are slow to introduce any novel branches of
education. I am sorry to say that the study of elocution, as well as
music, is much neglected in our Colleges, instead of being placed in
a foremost position.”
The following is from a young clergyman who possesses
some musical skill; and the power of teaching and con-
ducting :-
“I think that where there is a will to have musical instruction in
Colleges, there is a way. Of course when lectures are given only in
the morning all the time is needed for these up to say one o'clock.
But half an hour before dinner might very well be spared once or
twice a week. This was my time when I conducted a class of those
willing to be taught at
Even after dinner a class might
very well be held. Our elocution lectures were always given in the
afternoon. I cannot be too thankful for my musical knowledge. It
has enabled me to train children, to act when necessary as
choirmaster, and to conduct a parochial Choral Society. I have
been also a conductor of a private Choral Society, which regularly
provided attraction for our poorer folk. If men only realised early
MUSIC IN THEOLOGICAL SCHOOLS.
107
enough how useful musical knowledge is in ministerial work, we, who
are musical men, should not hear so often the remark. I wish I had
your power. I trust the day is not far distant when musical
instruction will be included in the regular College course."
The next letter is also from a young minister of musical
attainments:-
"Certainly I do not believe it to be a fact that there is 'no time
for music' during a theological collegiate course. Your answers
would in most cases be from officials who have little or no sympathy
with music being considered part of a minister's training, and who
therefore would make no effort to have it included as one of the
subjects in a College curriculum. That there is time for the teaching
of music was proved during my College course—proved the more
clearly by the fact that the students made sacrifices to spare the time,
-regularly giving up one of the recreation hours for a singing class,
and only once do I remember the charm of cricket being more
potent than that of music. Besides this hour for class instruction,
many students cheerfully spared odd quarters of an hour from their
evening studytime, for additional coaching,' and the regret of most
was that they had not many other spare hours in order more
thoroughly to master the subject.”
“One or two things are worthy of note in connection with this
effort.
"1. Music was taught during the sessions to the pleasure and
benefit of the students without in any way interfering with other
studies.
“2. Music was successfully taught in spite of the following
disadvantages :-
“(a.) It was not an officially recognised subject.
" (6.) The class was held out of study hours.
"(c.) Attendance was purely optional.
“(d.) The instructor was one of the students.
" Now one is certainly justified in contending on the ground of
these facts, that it cannot be truthfully asserted 'there is no time for
music.' Remove the disadvantages mentioned ; let the College
Committees include music amongst the ordinary subjects; set apart
a proper hour for its study; appoint a fully qualified teacher, and I
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STUDIES IN WORSHIP MUSIC.
feel sure they would find it an immense help in College training.
Music would be a true educative force, and would exert an ennobling
influence upon the characters of the men. It would make other
studies far less dreary—infuse a spirit of new vigour and pleasure
into College life, and take away much, if not all of its drudgery.
"I speak, of course, from an old student's standpoint, and I believe
that students everywhere would welcome the introduction of music
into their education, and that it would make them happier men and
more willing workers."
This letter touches a new point. The theological
course is necessarily one of great montonony. It deals
with but one class of ideas and emotions, and makes no
call on the sense of beauty or of art. Theological
students are human, and the balance of the faculties
should be maintained during their course. If singing is
advocated in elementary schools as a means of “cheer-
fulising" the other studies, it may be called for with
stronger reasons of the same sort in Theological Schools.
What is the real cause of the neglect of music in
Theological Colleges ? It is due, I think, to the fact that
Christian opinion does not as yet give to music its proper
place as an integral part of worship. Water cannot rise
higher than its level, and the real apreciation of music by
College tutors and committees is at present low. They are
dominated by traces at least of the old Puritan suspicion
of art. Men cannot be possessed with more than one
leading idea, and the leading idea of the tutors of these
Colleges is preaching. That a music class may contribute
to the making of a clergyman or minister in the same way
as do the classes in other subjects; that lectures on church
music should be admitted on a par with those in ecclesias-
tical history—these things they cannot grasp. They have
got on very well without music themselves, and see no
reason why others should not do the same. Here and
there, as the letters quoted above show, there are tutors
MUSIC IN THEOLOGICAL SCHOOLS.
109
who rise to a proper feeling in this matter, but they are
not in the majority.*
I may fairly be challenged to say what amount and
kind of musical instruction I would give to Theological
students. No one but a musical monomaniac would say
that the subject should occupy any great portion of their
time, but there can be no reason why, in those Colleges
where the students already meet voluntarily to sing hymns
and service music, these gatherings should not take formal
shape and be directed by a professional teacher. My first
aim would be to secure that every man should leave
College possessed of the ability to sing his part in a hymn-
tune or a chant. This, in ninety-nine cases out of a
hundred, is quite possible, especially if the Tonic Sol-fa
system be used. A systematic elementary music class for
all students who cannot already read a simple tune at
sight is the first requirement. The practice will tell
favourably even upon the speaking voice, and it will
largely increase the enjoyment of the music of worship.
Such a class may be taught by any competent musician
who has sufficient dignity of manner to command the
respect of the students. Attendance at it should be
compulsory, and there should be an examination at the
close for a certificate of competency to read easy music at
sight.
In addition to this I should advocate a few lectures on
Church music from the point of view of the communion
to which the College belongs, provided a suitable lecturer
* In American Theological Schools both elocution and music are
better treated than with us. A professorship of Sacred Music was
founded in 1882 in the Theological Institute at Hartford. An article
in the Boston Congregationalist, March 22, 1882, declares that a
young man is not thoroughly furnished for his work who goes out
from the Theological Seminary ignorant of the first principles of
music, of the history of religious music, and the way to profit by
that history.
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STUDIES IN WORSHIP MUSIC.
can be obtained. I admit that the number of men
qualified to give lectures of this sort in each denomination
is small. Such a lecturer must have a technical
knowledge of music as a first qualification, and he must
be also a spiritually minded man, treating of music from
the standpoint of worship; with a large grasp of
principles; not flying off at crotchets; free from the gush
of amateurism. He might begin his course by a survey
of the employment of music by all branches of the
Christian Church, and of the ideas which prevail as to the
relative functions of choirs and congregations, the admis-
sibility of solo singing, whether the congregation should
join in everything, join in nothing, or sing and listen in
turn, the use of antiphonal singing and of responses
between the minister and the congregation, or between
the choir and the congregation, the history of the employ-
ment of instruments in worship, &c. Then would come
an explanation of the materials of musical worship, both
words and tunes; a sketch of the rise of metrical psalms
and hymns; of the forms of the anthem, hymn or
psalm tune, chant, kyrie, &c. Practical advice as to the
speed and style of singing should follow, for which
purpose the lecturer should bring a church choir to the
College, or take the students to his own Church.
Expression of words, the proper balance of organ tone,
the chief points of choir-training should be explained. If
the communion is one which favours the employment of
boys' voices, there should be a special explanation of the
difficulties of training them, and the students should form
their taste by listening to really good singing from boys.
Lastly, hints should be given on the organisation and
management of choirs, on points of tact in controlling
them, on the best way of arousing the interest of the
people in their part of the music, and securing good
MUSIC IN THEOLOGICAL SCHOOLS.
111
congregational singing. A short course of lectures dealing
with these topics, delivered by a lecturer who was formally
received on an equality with the other lecturers and tutors
of the College, would, I believe, exert a valuable influence
upon the students.
I am well aware that in thus advocating the musical
training of clergymen and ministers, I am running
counter to the opinions of many of my brother musicians.
The pet aversion of most organists is "the musical Curate,"
and what a choirmaster professes to like best is a clergyman
or minister who never interferes with the music. But are
church musicians interested in securing the musical
indifference of the clergy? I believe their interests are
in an opposite direction. The clergyman or minister with
an intelligent sympathy for music can enormously aid the
organist or choirmaster in his work. Injudicious meddling
with the musician's duties on the part of the clergy is
the cause of any friction that exists, but why should this
be? Without the active sympathy of the minister we
may safely say that no successful musical work in a
church can be done. Let the clergy treat the organist or
choirmaster as a co-worker and not as a servant, let them
assume in him a high, devotional interest in the service,
let suggestions be offered with tact and the air of con-
sultation, and in the great majority of cases the confidence
will be worthily placed, and both parties will co-operate,
to the great benefit of the music of worship.
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ON THE MANAGEMENT OF CHOIRS.
CHURCH Choirs have the character of being troublesome
and difficult to manage. But in the disturbances which
from time to time take place in churches from this cause
the singers are not always the only parties to blame.
Church authorities have generally years and experience on
their side, while choirs are often actuated by: youthful
indiscretion. If the struggle between the two is frequent
or prolonged the chief blame ought to rest with the
possessors of years and experience. The fact is, the friction
between singers and church authorities, when it occurs, is
generally due to faults on both sides. A choir treated
with tact and consideration will generally respond to such
treatment, and do its work earnestly and well. On the
other hand let the clergyman or minister treat the choir
in a “stand-off” fashion, let him touch it with the tips of
his professional fingers, let the congregation take the hint
and despise it socially and regard it as a mere mechanical
apparatus for the production of sound, and the result will
be seen in flippant, irregular, and worldly-minded singers.
The management of a choir needs tact; it needs also a
hearty acknowledgment of the honourable place which the
choir occupies as a factor in divine service.
The want of wisdom displayed by some ministers and
clergymen in their dealings with choirs is extraordinary.
I recently met with the following letter which a minister
ON THE MANAGEMENT OF CHOIRS.
113
not only sent to his choir, but sent also to a religious
“To the Members of the Choir, My dear Friends : I greatly
value your very kind and efficient services, and beg very heartily to
thank you for the aid rendered in the service of song in the house
of the Lord.' It has pained me to hear from various persons and at
various times remarks not as to the style and taste of your singing,
but with respect to chatting and laughing before and during the
service. Need I point out that the prominent position of the choir
makes it all the more important that nothing of the sort should take
place, if only because the eyes of your fellow-worshippers are upon
you, and unintentionally, you (or those who do talk, &c.) interfere
with the worship of others. But there is a higher reason which I
need not dwell upon. The apostle's directions, “Let all things be
done decently and in order,' and · Let not your good be evil spoken
of,' and · Let us have grace,' &c. (Heb. xii. 28), I think, in principle,
applicable to a choir. Besides, talking, &c., gives a bad impression to
strangers and occasional visitors from other churches, especially those
from the Church of England. Please accept this exhortation in the
same spirit as that in which it is written--namely, a spirit of love,
and believe me, your sincere FRIEND AND PASTOR."
Now it is well known to be the height of folly to write
amount of reproof is infinitely more irritating on paper
than when delivered in conversation ; let us say also that
it is infinitely less likely to affect its purpose. To reprove
a choir by letter at all shows an utter want of tact.
Again, is it likely that everyone of the members of this
choir were in the habit of chatting and laughing? If not,
why reprove all because some were guilty ? The calling
aside of two or three leading transgressors for a few
minutes' conversation would in this case probably have
effected the object far more pleasantly and thoroughly
than the mischievous method adopted.
Some clergymen and ministers—it is of no use to ignore
the fact-need reminding that the organist, the choir.
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STUDIES IN WORSHIP MUSIC.
as the baselves.
capable y motiple first
master, and the members of the choir are their own flesh
and blood, capable of the same higher feelings, open to
the same influences as they themselves. Payment for
church offices and work--as the clergy and ministers
ought to be the first to recognise-does not imply
mercenary motives, nor is the recipient of a salary in-
capable of zealous and disinterested work. The church
authorities should always assume high motives in the
singers and musical assistants. Efforts should be made to
express sympathy with the singers.
In America the churches which have “chorus choirs"
treat them with great consideration, and do all they can
to encourage and sustain them. I once took an American
choirmaster to the rehearsal of a large Choral Society in
London. It met for practice in the school-roomi attached
to a Congregational Church. My friend assumed that the
Society belonged to that church, was, in fact, its choir. But
I assured him that this was not the case ; the Society had
no connection with the adjoining place of worship; they
paid rent for the use of the room, and only met there for
convenience. He was greatly surprised, and said that in
America such a thing could hardly exist. The churches
there vied with each other in obtaining large chorus
choirs" of sixty or hundred voices, and such a society
as that we were listening to would be sure, in his country,
to be attached to some church.
The High Church people take the greatest pains in the
management of their choirs. With them the office of
chorister is one of the “minor orders.” Bishops, Priests
and Deacons, they tell us, are called “clerks in holy
orders” to distinguish them from "clerks in minor orders,"
which include such posts as church-keeper, ringer, reader,
server, or indeed any post, however humble, in the church.
A pamphlet entitled “ Choir Instructions,” by the
ON THE MANAGEMENT OF CHOIRS.
115
Rev. W. H. Sewell, M. A., published by T. Bosworth, 66,
Great Russell Street, W.C., gives a minute treatment of
the subject from the High Church point of view. Mr.
Sewell says that from the earliest times in the history of
the Christian Church, males were solemnly admitted to
the singer's order by a Priest, using the words "See that
thou believe in thy heart what thou singest with thy
mouth, and approve in thy works what thou believest in
thy heart." The laying on of the Bishop's hands was not
required, but the laying on of the hands of the Priest by
way of blessing was probably never omitted from A.D. 200,
the time of St. Clement of Alexandria.
Mr. Sewell dwells on the duty of mindfulness and con-
centrated derotional feeling on the part of members of the
choir during service. He quotes the Rev. W. Law, who
says on this subject:-
"Be still, and imagine to yourself that you saw the heavens open,
and the glorious choir of cherubim and seraphim about the throne of
God. Imagine that you hear the music of those angelic voices that
cease not day and night to sing the glories of Him that is, and was,
and is to come. Help your imagination with such passages of
Scripture as these :- I beheld, and lo, in heaven, a great multitude
which no man could number of all nations and kindreds and people
and tongues stood before the Throne and before the Lamb, clothed
with white robes, and palms in their hands. And they cried with a
loud voice Salvation to our God which sittath upon the throne, and
unto the Lamb. And all the angels stood round about the throne,
and fell before the throne on their faces, and worshipped God,
saying, Amen: Blessing and glory and power and strength be unto
God for ever and ever : Amen.'-(Rev. vii.) Think upon this till
your iinagination has carried you above the clouds, till it has placed
you amongst those heavenly beings and made you long to bear a part
in their eternal music.”
Mr. Sewell prints an extended form of service for the
admission of a chorister, founded on one in the
"Directorium Anglicanum.". After prayer by the priest,
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STUDIES IN WORSHIP MUSIC.
two of the choir go out to bring in the novice. The
priest takes him by the right hand, repeats a form of
words, puts on his surplice, presents him with a set of
music and service books, and then, laying his hand upon
his head, invokes a blessing upon him. The service con-
cludes with some versicles and responses, and a prayer.
Forms of prayer for use before and after practice and
before and after service are given by Mr. Sewell.
Those for use before practice are specially good :-
1. “O Saviour of the world, now that we are assembled together
for practice in order to make ourselves familiar with sacred words of
prayer and praise, grant that this familiarity may not be hurtful to
us, but that we may love Thee ever more and more; and show forth
Thy praise not only with our lips, but in our lives: Who livest and
reigneth with the Father in the unity of the Holy Ghost, one God
worid without end, Amen.”
2. “O God, the Holy Ghost, enlighten, we pray Thee, our minds,
and pour Thy grace into our hearts to make us fitter for Thy service.
And mercifully grant that we niay so perfect ourselves by singing
Thy praises upon earth that hereafter we may be counted worthy to
sing with the holy angels Thy praises in heaven above. Through
Jesus Christ our Lord. Amen.”
The prayer for use after service may also be quoted :-
“Grant, O Lord, that what we have sung with our lips we may
believe in our hearts, and what we believe in our hearts we may show
forth in pure lives. Amen."
The Evangelical party in the Church of England and
the Protestant Nonconformist would probably shrink from
the use of so many forms, and from encouraging the idea
of " minor orders.” But it is worth while to consider
whether the spirit of all this is not good and worthy of
imitation. Put no honour upon the office of choir-singer,
let the choir feel no special spiritual responsibility, and
the result is relaxing. Treat them as the colleagues and
assistants of the minister, let prayer be offered for them
ON THE MANAGEMENT OF CHOIRS.
117
from time to time, lose no opportunity of dwelling on the
spiritual motive which should underlie their musical work,
and the choir must inevitably rise to a better performance
of its duties.
Nonconformists, in an exaggerated fear of formalism,
generally prefer that their choir-members shall take their
places one by one as they arrive, like ordinary worshippers.
The only Nonconformist place where I have seen the choir
enter together after a previous prayer in the choir vestry
is Mr. Newman Hall's. Surely this custom might well be
extended, as well as the habit of opening and closing the
choir-practice with prayer. Such a passage as that from
Rer. W. Law, quoted above, or texts of Scripture with a
similar import, might be pasted in the choir pews, in con-
stant view of the singers.
So much for the devotional and spiritual aspect of the
matter. Let us now turn to points of organisation.
It is in the first place of utmost importance that a
uniform test of musical attainments should be imposed
upon all choir members. A chorister who cannot read
simple music at sight is useless. If the choir is filled up
with “ dummies” or with those who have to learn all
their music by ear, the clever and really useful members,
upon whom the burden of work falls, get dissatisfied, and
either cease to attend the practices, or leave altogether.
The choirmaster must judge for himself what the nature
and severity of this test must be, but no members should
be allowed to get into the choir without it. For Tonic
Sol-faists the certificates of the Tonic Sol-fa College form
a convenient standard ; those who use the staff notation
can easily construct an examination of their own. Choirs
which have never imposed a test cannot of course dismiss
any already in membership who are unable to pass it,
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STUDIES IN WORSHIP MUSIC.
but they can insist ou all new members undergoing
examination.
The separation of the offices of choirmaster and organist
is desirable wherever it can be managed. Choir-training
and good congregational singing languish in hundreds of
churches because the organist is not a choir-trainer or in
sympathy with voices. I know men who unite perfectly
the two offices; but they are not common, and in nine
cases out of ten the singing will be better looked after if
the organist is not the choirmaster. The choirmaster
should appoint one of the members to the duty of librarian.
The attendance at practices and Sunday services should be
marked, special notice being taken of punctuality.
Members who can only come once on Sunday may be
admitted, provided they keep their promise of attendance.
There are advantages and disadvantages in the payment
of choir members. It is a great relief to the choirnaster
to feel certain of at least a leading voice in each part at
every service. The danger is that the voluntary members
should leave the work too much to the paid members. In
a choir there should be no individual voices prominent, but
a blended and homogeneous effect. There should be an
ample supply of books for the choir provided by the
church, no “looking over.” If the pews in which the
choir sit are of the modern low fashion, there should be
book-rests raised upon brass or wooden supports, high
enough to prevent the singers from the necessity of hold-
ing the books in their hands while standing to sing. With
hands free, and heads raised, choir-members do much
more effective work than if they cramp their chests by
holding books, and smother their voices by looking down.
The habit of singing from memory ought to be far more
generally cultivated by choir members than it is. One
frequently sees the most familiar hynın-tunes and chants
ON THE MANAGEMENT OF CHOIRS.
119
sung by choir members with downcast faces, and eyes
following the notes as if they were reading at first sight.
As to the position of the choir, I venture to defy fashion
and prefer the old place in the “west gallery," where
they can be heard and not seen. This is the position
adopted in the Roman Catholic and Lutheran churches,
and it was the universal position in the Church of England
before the Oxford movement began. Custom now places
the choir in the chancel, and I am not so sanguine as to
hope to upset custom, but at least I can deliver my mind.
The custom in many Nonconformist churches of having
a small gallery for organ and choir immediately behind the
pulpit is still worse than that of a chancel choir. This
arrangement is so well attacked in an American paper
that I cannot do better than quote the passage :-
- In building a new church the question is sure to come up:
Ought the organ and choir to be directly in the rear of the pulpit ?
It has some advantages, if the congregation alone are to be considered,
but some of these are lost after the music has ended and the choir and
organist are pilloried in front of the pews to listen if they can, while
they study the back of the pastor's head; and to disturb other
listeners, if they must confer with one another, by whisperings and
dumb show, on the next piece they are to sing. Perhaps, after all,
the choir, even if hired solely on professional grounds, and without
inquiry as to their interests in worship, may be better placed thani
where they can read the sermon over the pastor's shoulder.
“But how is it with the pastor ? The congregation may literally,
face the music' with satisfaction while he cannot face it at all, but
like a man under a mill dam, must sit with the cascade of harmonies
pouring upon the back of his head, his ears splitting with musical
effects never designed for four feet distances, his nerves sorely tossed
and torn by waves of sound that batter his sensorium. What manner
of kindly and soothing preparation is this for one who is for the next
forty minutes to take with him into deep and earnest thoughts of
eternal things the congregation before him? What do the pastors
themselves say as to this thing ? Building committees are supreme
and architects as they are made. But has the plan ever been a wise
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STUDIES IN TORSHIP MUSIC.
one, and is it helped by the commonness of the evil, if it is an evil ?
If it must continue why not set up over the pastor's head something
like the prompter's hood, though fronting the other way, and shield
him from a part of the infliction, or give him a trap-door behind and
beneath the pulpit that he may descend awhile, after giving out the
hymn, and escape it altogether."
To offer a model set of rules for a choir would be use-
less, as the duties of choirs differ greatly according to the
character of the service, especially in liturgical and non-
liturgical churches. Rules should be few and simple; a
choir trained and worked in the proper spirit will need
none, though it is well for all to have a code. The chief
points to which rules should be directed are: musical
qualification for membership; mode of nomination and
election; times of practice ; number of absences which
shall involve resignation ; the election of a committee of
management (not always necessary); appointment of
librarian; lastly, a few maxims and mottoes to aid in the
proper performance of a church-singer's duties.
Choir management is perfectly easy if all parties
· approach it in the right spirit, and observe the rules which
in ordinary life promote concord and willinghood.
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GERMAN PROTESTANT CHURCH
MUSIC.
In a study of German Church Music we must bear in
mind the insignificant place which church-going occupies
in German life. The population of Berlin, for example,
has increased in the last fifteen years by one million, yet
only three new churches have been built. In lesser towns
it is a common thing to find fifty people worshipping in a
church capable of holding fifteen hundred. Church-going
in Germany is not a custom as it is among the middle
and upper classes in England. English readers must
remember, then, that there is in Germany none of that
joyful devotion to church work and church services to
which they are accustomed; the German clergy are looked
down upon socially, and have but rarely an entry to the best
society; the congregations are small, and consist principally
of women. As a relief to this picture let it be said that
there is at the present time an undoubted wave of revival
and reform passing over the German Protestant Church, one
of the first aims of which is to improve the music of the
service.
We must also note in starting that the term “Protestant”
is often loosely but conveniently used to include the two
branches of the German Protestant Church-Lutheran and
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STUDIES IN WORSHIP MUSIC.
Reformed. The Reformed Church is Calvinistic, and has
a simpler ritual than the Lutheran. Zwingli, the Swiss
Reformer, went farther than Luther, who maintained a
conservative attitude towards the Roman Church. As a
consequence the Swiss Protestants still adopt a simpler
service than the Germans. In country Protestant Churches
in Switzerland there are still but few organs—another
relic of Zwingli's influence. It should be observed, again,
that one cannot in fairness speak of Germany as a whole
in these matters, because there is far more church life and
zeal in the south-Württemberg, Hessen, &c.—than there
is in the north. Lastly, we must get rid of the idea that
the German Protestant service is rigidly uniform like that
of the Anglican Church. Each state and there are
many—has entire control of its churches, fixes its own
rules, and publishes its own Choral Book. The govern-
ment is, roughly speaking, Presbyterian (Consistorial);
there are no bishops. The various states exhibit much
diversity of opinion and of service-order.
Here is a sketch of a Lutheran church service at
Leipzig, held probably at half-past eight on Sunday
morning.* The women will be seated on one side, the
men on the other, or in the gallery. The bell having
ceased, the organist extemporises a voluntary, leading
without pause into the opening Choral, usually “Allein
Gott in der Höh' sei Ehr" (Glory to God in the highest).
The number of the Choral is not announced, but from
tablets placed in conspicuous places around the building
the numbers of all that will be sung during the service
can be read, while in front of the organ (which is always
in the west gallery) the number of the one may be seen
*Founded on a description by F. J. Sawyer, Esq., Mus. Doc.,
Musical Standard, Nov. 17th, 1877.
GERMAN PROTESTANT CHURCH MUSIC. 123
Theyo sing and stamorise a few bastween each limis ex-
which is then being sung. The pace of the Choral is ex-
ceedingly slow, and probably between each line the
organist will extemporise a few bars. The congregation
sit to sing and stand during prayer and at the lessons.
They stand also on reaching their pews in offering silent
prayer. The Choral over, the minister, standing at the
altar intones the words “The Lord be with you,” to
which the choir responds “And with Thy Spirit.” The
minister then slowly intones a prayer. The contrast of
this measured speech with the English liturgy is marked.
At the close of the prayer the choir sing “Amen." To
this succeeds the gospel, the congregation standing. Then
follows the creed, turned by Luther into a Choral, in order
to make it easier for the congregation to sing. At the
close of this Choral, the epistle is read from the reading
desk. Then follows what is called the “Hauptlied,” or
chief hymn, chosen with special reference to the service of
the day. Perhaps only three or four verses are sung, and
during the singing of the last of these the preacher appears
in the pulpit, wearing the huge Elizabethan frill and
black gown. With regard to the choice of text the
minister is not left quite free. The Consistory of the
Church has chosen two sets—of two texts each (one
called the gospel the other the epistle)—for every Sunday
in the year. The first year set No. I is used; the second
year, set No. II; and the third the minister is left free
to choose for himself. The minister having announced in
what chapter and verse his text is to be found (generally in
the epistle or the gospel for the day) the whole congregation
rise while it is being read, and then seat themselves again.
Having given the introduction to his sermon, and
announced the heads of his discourse, the minister requests
the congregation to join in singing a verse of a Choral.
Silent prayer is then engaged in, and after a short
Chura the gospel the first year set the mini
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STUDIES IN WORSHIP MUSIC.
with his sermon. To the sermon succeeds the confession
of sins, the absolution, a prayer for church and state, the
publishing of the banns, the Lord's Prayer, and finally,
after the benediction, another verse of the “sermon
Choral.” The congregation not remaining to the com-
munion then depart. As soon as the church is quiet
again, the service is continued. The choir (unaccompanied)
sing the Sanctus. While this is being sung, the two
officiating ministers come from the vestry to the altar; and
at its close, one of them slowly intones-in a kind of
Gregorian plain-song—the Lord's Prayer, as far as the
words “For Thine is the kingdom," at which point the
choir take it up, and finish the prayer in four-part
harmony. Then follows the reception of the elements by
the congregation, during which a Choral is sung. With
the thanksgiving, and the “Dona nobis ” the service
closes.
This sketch represents a service of more than average
elaboration. In the majority of churches the choir does
not exist, or makes its appearance but once a month or at
festivals. The music then consists simply of Choräle.
In several points this order of liturgy contrasts with the
finish the" at whics far a
are never employed in any form; the Ten Commandments
are never read; the Creed is seldom read or sung in its prose
form. More important than all, the people have no copy
of the prayers or responses in their hands; there is no Book
of Common Prayer.
Luther had none of the Puritan antipathy or indiffer-
ence to art. The church which he founded has always
favoured the performance of high class music by the choir
as part of the service. There is a sentence of his on this
point which one encounters over and over again in the
GERMAN PROTESTANT CHURCH MUSIC. 125
writings of those who are working to reform the Lutheran
service :-
"I am not at all of opinion that the gospel should do away with
art, as a few hyper-spiritual persons maintain ; I would love to see all
the arts, and especially music, in the service of Him who has given
and created them."
This passage is rightly adopted by the music reformers
as the note of their policy. Luther from the first used
hymns; he never confined himself to metrical psalms. A
few of the Lutheran hymns are founded on Psalms-
for example “Ein' feste Burg" on Ps. 46—but this is
accidental. This from the first gave freedom of expression
to Luther and the poets who followed him. The function
of the choir in singing while the congregation mentally
follows, was also from the earliest times plainly asserted.
Luther accepted as much as he could of the Roman
service, and the unaccompanied motets, sung by the choir
to a listening congregation, became a part of the Lutheran
service in all places where the choir was sufficiently skilled
to execute them. Thus the choir and the congregation
had each its own music. The Choral belonged to the
people, the Motet to the choir.
In England, at the present time--and especially among
the Nonconforming bodies—great mischief is done by the
want of a bold separation between choir music and
congregational music. The formation and improvement of
choirs is a feature of the times, but the notion still lingers
that whatever music is sung in the service, the congrega-
tion ought audibly to join in it. Choir and congregation
are like an ill-matched pair of horses; the one wants to
go fast, the other to go slow. The choir have a natural
and praiseworthy desire to offer the best in the service;
the congregation, with an ever changing personnel,
including many unmusical persons, seldom or nerer
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STUDIES IN WORSHIP HIUSIC.
meeting for rehearsal, must, if they are to sing, be
content with a few simple tunes often repeated. How
unreasonable, then, either for the choir. to be confined to a
few familiar hymn-tunes, or for the congregation to join
in an anthem by Goss or Barnby! A separation of the
duties of each would be a gain to both. The choir would
then lead the congregation in a limited round of fairly
simple hymn-tunes and chants, and once in each service
would sing by itself an anthem, a chorus, a more difficult
and less familiar hymn-tune, or one of its members would
contribute a solo. This, as it seems to me, is the present-
day lesson to be learnt by English people from the German
Protestants. I do not stop to argue that singing in which
we do not ourselves join, may be spiritually profitable.
This form of employing music in worship is more liable to
abuse than the purely congregational song, but the Non-
conformists are the last people who should object to it, for
they follow almost all prayers without audibly joining.
If we can follow speech, we may surely also follow song.
Do not we derive spiritual blessing from an oratorio, or
failing that, from Mr. Sankey ?
German writers upon Church Music are full of the
praise of musical art, and of its place in the church
service. Thus at the 1882 Congress of the German
Protestant Church-Song Union at Stuttgart Herr Th.
Becker of Darmstadt said :-
We deem it reprehensible arrogance to say that the Gospel does not
Church, with its bare, sober worship would be the ideal of Divine
service. We consider it Puritanic benightedness not to utilise the
glorious Divine gifts of art in the service of a cause whose office it is
to express the highest concerns of man-his relationship to God.
And at the same Congress Dr. Köstlin of Friedberg
said :-
GERMAN PROTESTANT CHURCH MUSIC. 127
Let us, as musicians, offer our aid to the church. If she declines
it, it will not be our fault if the church service becomes to our
people an equivalent for fatiguing ennui; if the world of art turns
away from our Protestant Church discouraged and disappointed in
order to do homage either to the Messiah of Bayreuth or to the Pope
of Rome, because the creator of Parsifal is said to open new paths to
religious art, and the church of Rome is said alone to be able to offer
it a home.
A writer in the periodical Siona says :-
" In order to bring back to the church the masses, especially of
educated people, and to attach them to her, the simple preaching of
the Word of God is not sufficient. Besides the spiritually unctious
sermon, there is especially needed sacred musical art. If the Church
developes in her services the glories of music she gives a de facto
proof that she by no means belongs to a low degree of intellectual
life, but bears within her a higher life. The world cannot resist
such testimony, as is shown by the grateful appreciation of oratorios
and concerts of sacred music in the large towns."
Let us turn now to the Choral. The first question is,
why did Luther not adopt the traditional Gregorian music
for the congregation? This question is disposed of by Dr.
Köstlin, in the paper already quoted :-
The Gregorian music, which many would make a standard for
all time, was truly in the time of Gregory the Great, nothing but
artistic singing. The merit of Gregory and Ambrose was that they
enlisted the then art of singing in the service of the Church, and gave
Church style to the antique singing. Since then sacred music has
progressed; why, in liturgico-puritanical obstinacy, exclude it; and
limit us to psalmody in unison and congregational responses ?
Luther's policy in the introduction of the Choral, and
its origin, are thus explained by J. Kleinert, in his
pamphlet " Der Choral von heute:”—
When the bold reformer broke with the Papacy and drew fresh
lines of demarcation between the priest and the laity, he desired for
the congregation a different, less passive share in the public services,
and his clear, practical mind recognised in congregational singing
an effective factor. From the seventh century the congregation had
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become more and more excluded from church song, until at last they
had nothing left but the singing of a few short responses, especially
the Kyrie Eleison. Luther gave back to the churches their singing.
He translated the Latin hymns which had hitherto been used for pil-
grimages and processions, and a number of secular lays were adopted,
and their original tunes kept. Although Luther and his friends
composed not a few original airs, still, at that time, the choral was
nothing else than the secular Volkslied in the service of the Church.
And Luther did this advisedly, because he saw that herein lay a
strong propagandist force for the new doctrino.
Another writer, who takes a less favourable view of the
sanctification of secular music which Luther promoted,
says:-
“It is well known that, at the time of the Reformation, the
Romish Church had done away with all congregational singing, no
doubt because of its insupportable rudeness. With a few small
exceptions Luther had to create congregational singing, words as well
as music ... Gifted composers of melody were not to be found.
The musicians of those days who devoted themselves to Church
Music were not composers, but only arrangers. They took the
melodies from old Gregorian tunes and from secular songs—a pro-
ceeding that, with a few felicitous exceptions, is surely doubtful, and
can only be justified by the dire need of the times.”
Surely there are few now who doubt that Luther's
wisdom in employing the idiom of the people's song was
justified by its results !
The movement in the German Protestant Church for the
improvement of service-music, to which I have already
referred, shows signs of growing strength. It supports
two periodicals, Siona and Halleluja, the first read chiefly
by clergymen; the second chiefly by organists and
musicians. One of the objects of the movement is to
quicken the speed of the congregation in the Choräle.
Travellers in Germany know how wearisome the present
slow singing is. In numerous visits to Germany I have
timed the Choräle that I have heard, and the result, when
GERMAN PROTESTANT CHURCH MUSIO. 129
reduced to metronomic figures, is scarcely credible. For
example, in a handsome, almost I might say, magnificent
new Lutheran Church at Bonn, I made the following
notes. One verse of an eight-line long metre Choral took
2 minutes. In England we should get through it, at an
ordinary pace, in one minute. The Choral to which we
sing “Commit thy way, 0 weeper,” four lines, took an
average of 65 to 70 seconds a verse, which is more than
twice as slow as we sing it. The Choral, as at present
sung, has no time.' Sometimes in Germany, and always
in Switzerland, the congregation have the melody (printed
with the words in their Choral books, but there are no
bars, except one between each line, where the organist
makes an interlude. Hence one of the aims of the
reformers is to introduce the “Rhythmic Choral," which
means to sing the present Choräle with accent and life.
One obstacle to this must surely be the way in which
the verse is written in the Choral Books—straight on
as if it were prose. We can scarcely imagine this in
English :-
All people that on earth do dwell, sing to the Lord with cheerful
voice; Him serve with mirth His praise forthtell, come ye before
Him and rejoice. The Lord ye know is God indeed, &c.
The Choräle, as everyone knows, are sung in unison by
all the voices.* The broad and thick stream of sound
that pours upon the ear is impressive and often heart-
compelling. Enthusiasts have imagined that the German
Choral singing can be naturalised in England, but our
congregational music has an altogether different spirit.
*I have been frequently told that in Switzerland the Choräle are
sung by the congregation in four parts, and I have seen the statement
in print. But I have never heard such singing in the course of my
travels. I take it to mean that part-singing is obtained in a partial
degree, as in some of our British congregations.
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STUDIES IN WORSHIP MUSIC.
Heavy and loud is the organ accompaniment, generally
played from first to last on the diapasons of the great.
The harmonies are varied with each verse, but there is no
change in the expression, and the level loudness from first
to last is monotonous in the extreme. The art of
accompanying Choräle by varying the harmonies is taught
to organists; the German works on harmony all treat of
it. In many cases the interlude is written down in the
organist's score of the Choral. In speaking of accompani-
ments to the Choral we must not omit the trombones
(Posaunen). The employment of these instruments by
Mendelssohn to give out the theme of "Ein' feste Burg"
in the Reformation Symphony is not an accidental device
of the composer. Trombones are often heard from the
organ loft, sometimes from the church tower, and they
have acquired by tradition a close connection with the
Choral.
It must not be supposed that slowness is the only fault
of the German Choral singing. I have more than once
been annoyed with natural seconds” (people following
the air a third below) and “chapel bass” (men growling
the air two octaves below. pitch). Confessions in plenty
of the present lifeless condition of Choral singing will be
found in the writings of German Church musicians. Herr
Th. Becker said at the 1882 Congress already referred to:-
Slowly and draggingly does our Protestant congregational
singing creep along, only a faint reflection of its former freshness and
life. Hymns of praise and thanksgiving are sung like funeral
hymns, though words and music alone should suggest even to one
ignorant of music a different tempo. Even our great hymn of war-
fare and confession, “ Ein' feste Burg ist unser Gott,” is sung on
festive occasions in a manner which shows no trace of the stirring
times in which it was born. In the eyes of the people, slow, dragging
singing seems identical with church singing. The first task of our
Unions is to sing to our Protestant people its beautiful hymns in a
GERMAN PROTESTANT CHURCH MUSIC. 131
lively, stirring manner, so that the people may perceive of how much
spiritual aid it has hitherto been deprived.
A swiss pastor, Herr C. Menzel, of Schönenberg,
Canton Zürich, writes as follows in Halleluja on the
slovenly performance of the Choral:-
A single voice (especially if Alto or Tenor) can often spoil the
whole Choral, if it developes all its strength immoderately. Others,
especially elderly people, do harm through the abominable habit of
singing before every note another note, as a kind of grace note. Then
there is another bad custom; many church-goers look upon singing
as not being properly a part of the service, and think they may
appear in church during or after it. In Germany the clergyman
mounts the pulpit during the singing, in some places, like Calvinistic
Bremen, only after it. A few people begin with the organ, then one
after the other drops in and has to find out by the hung-up ticket
what verse has been reached ; the clergyman comes when he thinks
the proper time has arrived. All this time six, eight, or more verses
have been sung. This seems quite a wrong state of things to me.
It is only fair to add that, according to the best testi-
mony, Choral singing is quicker than it was. Interludes
between the lines have also been abandoned by many of
the younger organists, who play a few chords only instead.
Often these interludes, when played by undevotional
organists, were atrociously incongruous with the spirit of
the words. Travesty is only appreciated when it has a
basis of fact, and hence the following attempt of Claus
Harms, an excellent German divine, to fix in words the
sentiments suggested by flippant interludes, has no doubt
some excuse of reality * :-
*Quoted by Kleinert in Der Choral von heute. The above is the
best translation that can be given of a piece of untranslateable humour.
The lines in brackets form a verse of a well-known secular song,
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STUDIES IN WORSHIP MUSIC.
Hence care and anxious thought
(It's all the same to me).
My Provider lives and watches
(Whether I've money or not)
Nothing is hidden from the Lord
(When I've money I'm merry)
Prostrate at Thy feet we lie
(Vivallerallera)
O God of bounteous grace and good
(Ha! ha! ha! ha! ha! ha!)
In our conscience each one feels
(See-saw, see-saw)
That we are ripe for punishment
(Hurrah, hurrah!)
Already I have spoken of the Rhythmic Choral. The
following fuller description of it is by Dr. J. G. Herzog, of
Erlangen, in the Halleluja :-
Rhythmic singing consists of two kinds, one with notes of vary-
ing value, the other with notes of equal value. Both kinds give the
melody in its original form, and in the rendering of both it is needful
that the inner organization should find expression by means of
correct accentuation, more lively but suitable movement and obser-
vation of the time. The newer kind of Choral-time, existing even
in Bach's time and partly customary still, has all notes equal, and
the melodies are so altered that often they are not to be recognised.
Of course such tunes still possess rhythm, but it is weakened or
annulled through arbitrary, timeless, dragging delivery, through
artificial treatment of the harmonic accompaniment, introduction of
passing notes, and the interludes, which destroy all coherence.
Therefore such singing may rightly be called “non-rhythmic." I
need not tell you which is the best for enlivening congregational
singing and fixing the melody in the memory. In early times the
congregation really sang the older rhythmic “ Choräle ;” the hymn
and tune books of those days prove it, also the motets and choruses
based on such “ Choral” tunes. It is not the nature of the old
“ Choral” which caused this change, nor any lack of popular
character--but quite different things. Especially caused it is by the
spread of secular music; the continued development of instrumental
GERMAN PROTESTANT CHURCH MUSIC. 133
music; the desire of the organist to change the guiding organ-play
with an independent, artistic performance; the development of the
figuration of the Choral, to which equal notes are more amenable
than unequal ones; last but not least, people's sad propensity to be
easy-going, even in Divine Service. If the possibility of returning to
rhythmical usage is proved by years of trial, I don't see why one
should not resume it out and out instead of doing the thing by
halves and patching up the melodically corrupt Choral by improving
the harmony.
The disfigurement of the Choräle by alterations and
additions, to which Dr. Herzog refers, is a fruitful cause
of complaint to reformers. It is said by Kleinert that
every little congregation has its own variations of the
melodies of the Choräle, and Herr Becker speaks of the
flourishes and passing notes that are so freely introduced.
The strength of the Choral as an incentive to congrega-
tional singing is, first, that people know both words and
music by heart, finding in them, through a thousand
recollections, the force and glow of a liturgy ; second,
that a given hymn is always sung to the same tune.
Several hymns are often sung to one tune; but never
several tunes to one hymn. The Choral is known by the
first line of the words to which it is sung. Add to this
the fact that school attendance is universal; that the
children all learn the Choräle; and we see that,
potentially at least, a perfect congregational song exists in
Germany. The Choräle are most of them old; new ones
are seldom composed, and still more rarely accepted as
national. My own impressions on this point are confirmed
by two of my correspondents. Dr. Sawyer says “I have
never during my residence in Germany, or in several
subsequent visits, heard of such a thing as a new
Choral.” Pfarrer Beck, of Lohn, near Schaffhausen,
writes: “There are some, but they have not yet been
received into the company of their elder brethren. And
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STUDIES IN WORSHIP MUSIC.
indeed, we have airs enough.” The tune by Kocher to
which we sing “As with gladness men of old” is a
modern German hymn-tune, but it has more of the
English than the German pattern.
Choirs and Church Song Unions are common. Dr.
Köstlin happily describes them to me as “the embodied
musical conscience of the congregation.” They consist
as a rule of mixed voices. There is no general prejudice
in Germany in favour of boys' voices as in the Anglican
Church. Nevertheless the crack choirs--such as the
Dom Choir of Berlin, the Thomä Kirche choir at Leipzig,
the Salzungen Bad Choir, &c-consist of boys and
men. The choir is invariably placed in the organ
gallery, at the opposite end of the church from the
altar, where, indeed, it used to be in the Anglican
Church, and still is in the Roman Catholic Churches.
Professor Merz, of Heidelberg, writes to me :-“The
choir is always placed in the organ gallery, never on
a level with the congregation. It lies in the nature of
things that organ and altar should be opposite each other,
and the responses take place between them.” He adils :
“The custom is that the choir sings alone, and the
congregation alone. We have tried to accompany the
congregation with the choir, but it proved a failure.
The organ is more effective. As a rule, the choir sings
polyphonic motets, but they also frequently sing in four
parts. unknown or little practised hymns, in order to
make the congregation acquainted with them. The
congregation should never sing otherwise than in
unison, with organ accompaniment."
The choirs are sometimes peripatetic. In Augsburg,
for example, there are five churches, and one choir, which
sings in a different church every Sunday. Nearly all the
members of this choir are paid small salaries; indeed,
GERMAN PROTESTANT CHURCH MUSIC. 135
payment of choir members is the rule in Germany. In a
recent number of the Halleluja Herr Th. Odenwald
propounds a scheme for a church choir for Hamburg,
which shall offer its services to the five principal churches
in the city, and sing at others whenever it can. The
financial details are interesting. He would have 20 men
at £7 10s. per annum, rising to £12 10s.; 4 solo men
to £2 10s.; ten solo boys at £3 per annum, rising to £4.
In addition to these salaries there would be the expense of
the music and payment of the Director. The sopranos and
altos (boys) would practise separately four hours a week,
the tenors and basses separately two hours a week, the
combined choir two hours a week.
I attended, not long since, the rehearsal of a Church
Choir in Zürich. It consisted of about 50 mixed voices.
In England our Church Choir members are too young;
here they were mostly middle-aged people, with well set
and powerful voices. The payment no doubt secures the
continuance of membership. The rehearsal of the motets
--they sing one every month, and at festivals-was
accompanied lightly on the pianoforte; this was gradually
withdrawn as the notes were mastered. Utmost attention
was paid to light and shade, and the maintenance of pitch.
The breathing-places were marked on all the copies.
When the motets for the next monthly appearance of the
choir had been rehearsed, a few secular part-songs were
taken in hand. This practice was on a week-day evening,
which is the general custom, though choirs rehearse in
some places on Sundays.
The mixed choir is sometimes replaced in Church
by the male-voice choir, or the choir of boys. The
Männergesangverein is mainly a social club, altogether free
from the suspicion of devotional aims. But in the
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Protestant parts of Germany these societies sometimes pay
a visit to the church, and motets will be found composed
for them in the same contrapuntal or broken style which
prevails for the mixed choirs. Men's Song Festivals,
having for their object the singing of secular choruses and
the promotion of good fellowship, are a common feature of
summer life in Germany. They generally begin with a
choral service on Sunday morning in the Protestant
Church. A great point is made by Dr. F. Zimmer and
other writers of "the children's choir in the church.”
The German children sing the Choräle, they have but few
of the pretty, child-like hymns and tunes that English
Sunday School children so heartily enjoy. A few
collections of Sunday School hymns and tunes are, however,
published. One such is before me, published in Bremen,
and in its fourth edition. The motto “For our children
only the best is good enough,” which stands on the title
page, gives a key to the style of the book. It is mainly
a compilation of two-part Choräle. The Moody-Sankey
hymns have also been translated. I have a book of this
sort at hand, published at Basel, in which the familiar
" Only an armour-bearer" appears as “Bin nur ein
Waffenträger," and “Light in the darkness, sailor,"
sings :-
Licht strahlt von ferne, Seeman,
Hülfe ist nah.
But these foreign adaptions are used by the small sects of
Methodists and Pietists only. German taste in music is
high ; far higher than English taste. Palestrina is the
model, and the introduction of the American revival tunes
into Lutheran worship even for children is a thing not to
be dreamt of.
The school choir is however often utilised in the
church. With that patience which is characteristic of
GERMAN PROTESTANT CHURCH MUSIC. 137
Germans, the children-generally the boys—are taught to
sing three-part motets in polyphony. A large number of
these have been composed for the purpose by various
musicians. At Darmstadt and in other German towns
there are Church-Choir Schools for boys, where in return
for musical services at the various churches of the town
they receive a free education. The announcement of the
formation of one of these Choir Schools at Königsberg
recently says:
“The Choir School consists of a number of boys from all the
congregations of our town, who, under careful instruction, learn to
sing the most beautiful Choräle and sacred songs in three parts.
The Choir School will carry a consolatory song to any poor sick
people who may be brought to their notice by the clergy, town-
missionaries, or sisters without any charge. They will also give
every year four performances of sacred music in different churches
of the town, also without charge; and are ready, for a small
consideration, to sing at family celebrations, at Baptisms and
Funerals, as well as in the churchyard during the interment.
All this singing of motets, whether by men, boys, or
the mixed chorus, is a capella, that is unaccompanied by
any instrument. This is the pure Roman tradition, still
preserved in the Sistine Chapel. On this subject Dr.
Herzog, of Erlangen, writes in the Halleluja :-
Whether the a capella singing or the organ accompanied singing
is best for the Protestant Church, this question can only receive one
answer, namely, that both kinds are admissible, according to the
form of the service, the character of the music, the condition of the
voice material. We should pass over a good portion of our
treasures of church music, were we not to admit both styles. It is
not the organ accompaniment as a mediator between choir and
congregation that legitimises the choir (as some think), but its inner
relation to the service. I must confess that I look upon a capella
singing as a special means for awakening a religious, devotional
mood. In its pure and immediate effect on the soul, in its clear
preponderating and intertwining of the various species of voice, it
offers: a most varied contrast to the accompanied congregational
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STUDIES IN WORSHIP MUSIC.
singing. Nothing moves human beings so much as a many-part
song, purely rendered without any accompaniment. He who has
heard Bach's Passion Music, will never in his life forget the wondrouis
effect of the choral “Wann ich einmal soll scheiden ”—without
accompaniment. In liturgical services the a capella hymn claims a
very high place.
Dr. Ludwig Nohl, of Heidelberg, opposes a capella
singing. I quote from an article of his in Halleluja,
though I confess his meaning is somewhat obscure :-
The choir may sing, but only very exceptionally without organ. The
a capella singing does not really fit in with our service, and if-as in
the Berlin and Schwerin Cathedrals-old-Roman food is chiefly
provided, the impression produced is that of a concert, and the
chief thing, religious edification, is jeopardised. No doubt every-
body flocks to those churches, but from esthetic motives. The
organ must only be silent in church when the direct servant of God,
the clergyman, speaks; the organ, as it were, gives him, with the
consent of all the devout, leave to speak, for it is, so to speak, the
general the abstract, yea the metaphysical element; the sermon is
the concrete and individual interpretation. In the same manner
the organ accompanies the liturgy. A choir of human voices is
really outside the frame-work of the Protestant service, quits its
original soil. Bach meant the organ to accompany the four-part
“ choral” in his Cantatas and Passion Music; the spirit of our
church forbad the idea occurring to him of letting it be sung
a capella, and he only allowed it exceptionally and for special
reasons. The effect of a capella singing in our church is that
of a foreign element. The basis of the instrumental in all its
vitality belongs to our service, and the singing without it produces
an artificial ornamentation. A capella singing is plastic, and belongs
from its nature to the Roman Church.
Herr Th. Krause, a musician of keen intelligence from
Berlin, was present at the Handel Festival this year, and
being himself a church choir-master, took occasion to
attend the services at St. Paul's and Westminster Abbey.
His remarks on these services* are interesting as showing
* Deutsche Rundschau, Aug. '85.
GERMAN PROTESTANT CHURCH MUSIO. 139
how the Anglican service strikes a highly-trained Lutheran
musician. His chief objection is to the organ :-
Unfortunately, all psalms, hymns, and responses have organ accom-
paniment. Truly both churches have splendid instruments, and the
organist of St. Paul's, Dr. Stainer, knows especially how to do justice
to his playing without distressing the choir. Bnt the fact is, the
organ is of all instruments the one least suited for the sole accompani- ·
ment of the choir, and the a capella choir is the most worthy mediator
between the liturgus (the officiating clergyman) and the choir.
Of course it has to be observed that the Anglican ritual is brilliantly,
almost lavishly, furnished, as regards choir and music in general, more
so even than the Catholic ritual, and that the choristers—boys and
men-are wearied by the long litanies and repetition of the same
phrase, 12 even 15 times; therefore they depend on the accompani-
ment, as easing them.
Ireland has a harp in its coat of arms, for England an organ would
be befitting, so great is its love for this royal instrument.
We need only add that the Christian Year is emphatic-
ally observed in the Lutheran Church ; far more importance
is indeed given to Festivals than in the Anglican Church.
This gives a varying colour to the music of the motets.
All the chief German composers, from Bach onwards,
have written them. Mendelssohn's “Judge me, O God,"
composed for the Berlin Dom Chor, is a conspicuous
example of the motet. A few composers, such as
Hauptmann, Rheinberger, &c., have introduced organ
accompaniments, but this is exceptional. The motets of
recent German composers are by no means far removed
in style from English Anthems. The English write more
boldly than the Germans, who are a little cramped by
the traditions of the Palestrina school. The organ accom-
paniment of the English Anthem allows solos, duets,
choral recitatives, interludes, &c., to be introduced,
and it increases the possibilities of musical expression.
But if you ask an English composer to write an Anthem
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without an organ part he will produce a composition almost
exactly resembling a German motet. Sir George Macfarren's
“Great and marvellous” may be named as closely
fulfilling the conditions of a motet.*
This notice of German Protestant Church Music would
be incomplete without a reference to the Church Cantatas
of Bach. They differed from the a capella motet in having
organ or orchestral accompaniment; they were of far
greater elaboration, and included songs, duets, and other
solo music, as well as choruses. Bach was not the first
to compose them, but he brought them to their highest
point, nor did they flourish much after his death. The
almost invariable custom was to close with a Choral.
Bach composed a prodigious number of these Kirchencan-
taten, which were performed during his life at festivals,
weddings, and on state occasions. Many of these are of
extraordinary power and beauty, and are still performed,
though the tendency in Germany is to neglect them.
Indeed, many of the present authorities are strongly
against the use of these cantatas in divine service.
Herr Menzel of Schönenberg calls attention in one of
his essays to the fact that Church music cannot thrive
without sacred music at home. He says:
* The performance every Saturday afternoon of one or two motets
by the choir of St. Thomas's Church, Leipzig, is a time-honoured
institution, of the origin of which, however, but little seems to have
been known hitherto. According to a document recently
discovered in the municipal archives of Leipzig, it appears that on
September 14th, 1358, the convent of St. Thomas met in council,
and with a view to averting the wrath of the Deity, as manifested in
the plague then raging in those parts, made a solemn vow that
henceforth a special service should be held every Saturday at St.
Thomas's Church. That vow was religiously kept, the custom,
with some modifications, having outlived the Reformation, and
being observed to this day.
GERMAN PROTESTANT CHURCH MUSIC. 141
Every Christian family ought to cultivate sacred music. If the
family sing Choräle and other spiritual songs at home, the right
spirit is carried to church, and church-life is furthered indirectly.
Everywhere men speak of the decay of the church, and truly much
is unsettled, but in the people's life the Temple of the Lord stands
still on a thousand props, and not the least is music, which unites in
harmony many otherwise diverging lines. Therefore let us cul-
tivate sacred music in church and home. Let us sing our patriotic,
our social songs, let us sing of glorious nature, of love and friendship,
but let us not omit the beautiful and spiritual songs in praise of the
Most High, and for our own edification. If God's will is to be done
on earth as in heaven, we must sing and play on earth in honour of
his Holy Name, as the angels rejoice to do in Heaven. Let us
cultivate music each according to his gift in the service of the
Protestant Church.
A series of articles which has recently appeared in
Halleluja gives a curious insight into the Currenden" or
Church Choirs, which in olden times, were accustomed to
sing in the streets of Berlin and other towns. The follow-
ing is a summary of the articles :-
Two kinds of choirs had developed in Berlin from the time of the
Reformation, which besides their standing official duties at services,
funerals, weddings, &c., were charged to carry God's word on the
wings of song through the streets of the town, and to cast the net of
the kingdom in the open sea of the public traffic of life. They were
(1) the greater choirs from the colleges, generally called “The
Scholars ;” (2) the choir of the parish schools, called “ Currenden"
in the narrower sense. The former sang in four parts, not only
Choräle but also Motets and Psalms. They were not restricted in
their perambulations to one parish, and did not sing before all houses;
but as a rule, only where by a subscription to their fund a desire for
their appearance had been proved. The “ Currenden” remained in
their own parishes, singing from house to house in one and two parts
with the leader's deeper voice, choräle and spiritual songs. A
boy with a box collected money, but they had also certain fixed
contributors.
This choir singing within and without the church walls belonged
for centuries in its vitality to the Lutheran Church economy as
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much as the blowing of Choräle from the towers, yea the ringing of
bells. The singing of “Scholars” and “Currenden” gives the
Reformed stamp to public life more than anything else.
When the Reformation spread, the Catholics everywhere abolished
their “ Currenden” because they feared they might spread Reformed
hymns. It was the same everywhere in Germany. Where the
“ Currenden” sang Luther was extolled; no singing in the streets
proved that the old Romanism prevailed. And that the Berlin people
appreciated this choir singing is proved by the many legacies left to
secure the permanence of the institution.
About 50 years ago the Berlin magistrates abolished the
“ Currenden.” They gave several reasons—(1) the institution had
no meaning for these days; (2) the boys sang badly; (3) the choristers
were the worst pupils, for every cobbler and tailor sent his boy to
college and made him a chorister if he had a voice. It took ten
years to abolish the choirs. Lately an effort has been made to revive
them.
Pfarrer Beck, of Lohn, near Schaffhausen, has given
me some interesting details of his own village church and
of his work as a lecturer on Church Music. He says :-
The majority of the churches in my canton (Lohn is just within
the Swiss border) have no organ, but the antipathy to organs is now
giving way. We have no organ in my church, but for want of
money, not want of will. Yet though I like organs, I know that
where there are none, people sing with more life. In the Lutheran
churches they sing not only more often and more verses than we,
but in north Germany there are frequent antiphons between the
clergyman, the choir, and the congregation. We have plenty of
religious songs for children, even whole services, containing antiphons
between the children, the choir of adults, the clergyman, and the
congregation. Here, in Lohn, the pcople sing standing. In
lecturing lately at Strassburg on the development of sacred song I
announced that the choir of 80 voices would sing the first verse of
the famous “ Nun danket alle Gott” a capella, and that then the
whole congregation would rise and sing"the last verse accompanied
with the organ and four trombones. The effect was magnificent,
there being about 1,000 persons present, who all sang from the heart.
Here at Lohn there is a lively intercourse between the choir and the
congregation. From time to time we have sacred concerts in which
GERMAN PROTESTANT CHURCH MUSIC. 143
one religious idea, for example, the Life of our Lord, the Last Things
&c., is illustrated by a series of motets, solos, and hymns sung by the
choir and the congregation. Violins as well as the organ are then
used to accompany.
In a lecture which he has delivered in Strassburg and
other towns—in French or in German, as the circumstances
sacred music from the earliest times. An intelligent
hearer of his address in one of the French towns happily
described the meeting as embodying “three C's"-
conférence, culte, concert—that is, a lecture, a service, and a
concert. In the rendering of the musical illustrations at
his meetings, Pfarrer Beck calls in the help of (1) the
congregation, (2) the choir, (3) the organ, and (4) the
quartet of trombones. By ringing the changes upon
these, an impressive variety is obtained, especially as the
choir sometimes sing in unison, and sometimes in harmony.
Ein feste Burg, for example, delivered with the united
forces of organ, trombones, and a congregation of 1,500
are sung by the choir unaccompanied. There are examples
given of solos with organ accompaniment. Herr Beck is
eclectic in his taste, for the programme includes “ Noch
ist hier Raum” (“ Yet there is room ”), described as a
Sankeylied, and “ Die Zehn Jungfrauen," which he calls a
Negerlied, a piece familiar to the hearers of the Jubilee
Singers. Another example is of the old fashion of the
melody in the tenor, while another shows choral figura-
tion,—the air of the choral being given out in minims by
a solo voice, while the chorus play around it in fugal
imitation, moving generally in quavers. One of the
motets is a Nunc dimittis 'by the Englishman, Robert
Creyghton (1698). These lectures have been heard with
interest in many towns, and an orchestra has sometimes
added to the musical effect.
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STUDIES IN WORSHIP MUSIC.
The efforts of the would-be reformers of Lutheran
Church music are directed to several minor ends. They
promote the formation of Sacred Song Unions, the
teaching of singing by note in schools, the training of
clergy and schoolmasters in music (at present there is
no musical examination of candidates for holy orders), the
training of organists and precentors, the cultivation of
domestic sacred music. But they contend especially that
the congregation and choir should have more to do, and
point to the Anglican service as a model at which the
Lutherans should aim. Dr. Haupt, of Giessen, has
especially distinguished himself in advocating a large
adoption by the Lutherans of Anglican uses. In his
pamphlet Zur Reform des Deutsch-Evangelischen Kirchen-
gesangs (Wiesbaden, 1878), he strongly desires a liturgy
containing many responses between minister and people,
between the two halves of the congregation, and between
men, women, and children, melodies of the English
pattern, quicker singing, the use of prose psalms sung to
Anglican chants, kneeling at prayer, expression in singing,
&c. He says, too, that the English hymns have an advantage
over the German, in containing fewer and shorter stanzas.
Dr. Haupt has since written some articles in Halleluja
bringing new arguments to bear upon the same theme.
In one of these articles he quotes a letter from a German,
a warm Christian, who was for eight years a teacher
at Oxford. Comparing the Lutheran service with the
Anglican, he says:-
If you ask me which service I think most profitable, that of the
English or the German Church, I cannot be for one moment in
doubt. I am a German heart and soul, and I have seen much that
threw a rather unfavourable light on the English services, therefore
my judgment may be considered quite impartial. With all this
I far prefer the English service devotionally, and in some respects
also musically. I will briefly give my reasons. In the English
GERMAN PROTESTANT CHURCH MUSIC. 145
service the congregation takes an infinitely more active share than
with us. The prayers which are followed by the Amen of the
congregation, said or sung; the Psalms, which are read or chanted
daily or weekly; the Canticles; the Hymns, which are generally
sung in four parts, and often with great beauty and correctness by the
musical portion of the congregation; the beautiful litany; the
solemn Communion Service; and the short sermon, generally read
(and therefore always containing something good);-all this is, in
my opinion, a great advantage on the side of England. I have
observed some drawbacks, for example the jealousies of the different
choirs, but this is better than indifference. The singing of the
Psalms, when the melody always corresponds to the thought, is
especially edifying and attractive to me. So long as everything
centres in the sermon, so long as the German Protestant goes to
hear this or that preacher, and stays at home when the preacher
does not suit him, so long will our church-going be irregular and
insufficient. With the English the chief things are the beautiful
prayers, the copious Scripture lessons, the Psalms, the Thanksgiving
and Praise, and the consequence is that members of the congrega-
tion feel it their duty to go to church every Sunday for the worship
of God. One feels thankful for the privilege of having once more
been allowed to offer up prayer. The elevating Church music, the
mode of the service, the greater personal share in the service,
to the perfect development of which the individual worshipper
actively contributes ;—these seem to me the chief reasons why a
deeper Church-life prevails in England than with us.
A German lady who has lived in England is quoted by
Dr. Haupt as follows :-
Why do I love the Anglican Church? I think it is because in
her services the liturgical element predominates, and thereby
encourages the full participation of the whole congregation. In
our Lutheran service the clergyman does everything. We, the
laity, remain passive; we have nothing to do but sing two or three
verses, and this is generally done in such a dragging, lifeless, and
unvaried fashion, that it must prove a torment to any musical ear.
We listen to the servuon; at the best we learn something, and take
a few good resolutions home. Just as often one goes home with a
heart as empty as before. The fault lies here : nothing has been
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STUD
demanded of us: we have done nothing ourselves, whereas in the
English Liturgy Service demands are made upon us.
Dr. Oesterley is the author of a pamphlet, entitled
"Der Gottesdienst der englischen and deutschen Kirche"
(Göttingen, 1863), written in much the same strain as
Dr. Haupt's. I quote a passage in which he condems
the uniform loudness of the Lutheran congregational
singing, and compares it unfavourably with the
English :-
One of the most effective means by which the English give a
more perfect finish to their Church Music is extremely simple-
nothing else than the use of piano, in the organ playing as well as
in the singing of the choir and congregation, a diminished force of
tone during the whole service. We in Germany have no idea of
the edifying power of this piano, compelling adoration and devotion.
And yet is this means of expression one of the most natural,
appropriate, and effective, casting upon the whole service a glow of
solemnity and sacredness. We cannot too strongly recommend the
German Church to adopt this way of rendering their music. It
should not be difficult. The reason why the average force of tone
in the English service is piano and in the German forte, is found in
congregations, having preserved their animation through a series of
favourable circumstances, sing their hymns con amore, but they also
sing with a consciousness of their own position and share in the
service, with devotion and sacred awe, and therefore only softly, or with
the mezza voce. That is the point on which the whole matter turns.
The organ cannot accompany the delicate and mobile song of the
congregation with the thick and clumsy tone, especially as it knows
itself to be only the handmaid of the singing congregation.
In Germany the congregation sings draggingly and indolently;
if they sing at all they sing with all their might, and as the throats
are differently organised, and there is no sufficient guidance, every
individual voice gets its own way, and the whole follows the law of
inertia as necessarily as a heap of rolling sand. The organist is
forced to take the reins into his hands, and he has no other means
of keeping the singing together and directing it, than a heavy
and broad organ accompaniment, which, if it has not the desired
GERMAN PROTESTANT CHURCH MUSIC. 147
effect, at all events prevents the congregation from
louder.
singing still
Music we do not wish to exclude any augmentation from that. The
use of forte is by no means to be restricted, for it is most legitimate
for the expression of praise, thanksgiving, and festive joy. It is
just the sparing use of forte which gives force of expression such as
we have rarely or never in Germany with our distribution of light
and shade.
The course of German Protestant Church music during
the next decade cannot fail to be interesting to the
student of worship music. A young and vigorous life
is no doubt peeping through the dead leaves of formalism
and routine; yet the grasp of tradition is strong. Will
the new worship music shape itself upon Anglican
models? Will the close-packed strength of the stately
Choral give place to the fluent shallowness of the modern
English hymn-tune? Will the ponderous organs become
mobile and sympathetic ? Will the motet take on an
organ accompaniment and the free harmony and form
of the English anthem? Will chanting of the Anglican
pattern be introduced? We do not feel anxious that
there should be any copying of English use. Rather
let the Fatherland of Protestantism shape its own course
of reform in Church music, and out of its own life and
heart evolve the new forms it needs.
Several correspondents have supplied me with valuable
information as to the condition of Protestant Church
Music in various European countries besides Germany. A
correspondent from Denmark writes :-
The congregational church music in Denmark has this feature in
common with the English church music, that it is executed by the
organist, the choir, and the congregation, but it cannot as a whole
be compared to the church music in England. In Denmark there is
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STUDIES IN WORSHIP MUSIC.
a considerable difference between the church music in the country
and in the larger towns, not to speak of the city of Copenhagen.
The country is for the greater part inhabited by small landholders
(peasants), without much education or sense for spiritual enjoyment.
In most of the country churches is to be found a small organ played
by the schoolmaster, who also leads the singing of the hymns,
assisted by some of the school children, and more or less joined by
the congregation. Here it all depends on the musical talent of the
schoolmaster, and his faculty to teach the school children and also
the grown-up members of the congregation to sing the most
generally used hymns, unless the clergyman and his family are able
to take the matter in their hands. Of responses, antiphones,
anthems, &c., there is of course no thought.
In the towns the state is better; the organ is better played, the
precentor is assisted by a regular choir of school children, and in the
congregation there will always be found a good number of members.
who, with more or less musical talent, will do their best to make the
singing of the hymns an expression of the heart's solemn feelings.
So far every want is satisfied, as the Lutheran service lays all the
weight in the sermon as the principal part of the service, whilst the
liturgy plays a very subordinate part. There is no litany or
communion service read, no set prayers, no David's Psalms sung, &c.
After the introductory prayer the clergyman reads or intones from
the altar the collect, the Epistle and the Gospel of the day, with a.
hymn sung between each, then comes the sermon, and after this again
from the altar a collect and the benediction. There is therefore not
much occasion for music besides the singing of the hymns ordered for
the day.
In the city of Copenhagen a little more is now-a-days done in
most of the churches. Instead of the school children each church
has its paid choir consisting of 10-16 grown-up men and women,
qualified for it by their good voices and musical education. Such a
choir not only leads the singing of the hymns, but sings several
responses and antiphones, more or less joined by the congregation.
When the clergyman intones from the altar: “ The Lord be with
you !" the choir (and the congregation) responds; " And with Thy
spirit”! Before he intones the Gospel of the day, the choir sings,
“God be praised for his joyful tidings ”-after the sermon it sings
again, and after the benediction ; Amen! On the great Festivals some
GERMAN PROTESTANT CHURCH MUSIC. 149
particular collects and anthems are sung by the choir, and on
Christmas Eve an exclusively liturgical service is held in all
churches.
A very great improvement of the church music has taken place
during the last 30 years since the introduction of our new hymn book.
This contains, besides a selection of the best old chorals, a good
number of pretty hymns by some poets of the present century, as
Bishop Grundtvig, Oehlenschläger &c., which are sung to lively
melodies composed by our best composers. These hymns soon got
very popular, and as at the same time a fresh religious life awoke in
Denmark, they were sung in nearly every house by both old and
young. No wonder that this very soon influenced the singing in
the churches, in which now-a-days the congregation joins quite in
another way than before.
A correspondent in Holland writes : '
I myself think the church singing in this country very inferior:
at least in comparison with Germany and England. The singing is
exceedingly slow, and a great many devotional people seem to
think the louder they sing the finer it sounds. To give a
description of the church singing in this country, one must hear
it. The Dutch language, with its many gutturals and broad syllables
is not musical either. Some years ago they tried to improve the
church singing, but I do not find any amelioration. As long as public
schools do not cultivate church singing in the way they do other
singing there will be no progress whatever.
A correspondent in Vienna writes :-
As to your question how congregational church music in the
Protestant churches of Austria compares with that in England, I
would say that there are none of the light and lively tunes used
here that are frequent in England, nor is there anything like the
chants, the Te Deum, &c., used in the Episcopal church. All the
singing is in the “Old Hundredth" style, and in country parishes
sometimes it is drawled out tremendously. Many of the psalms
sung in the Reformed Bohemian churches, also in Calvinistic Con-
gregations are in a minor key, and would be grand if the singing
were smoother. In many of the older Reformed Churches they have
no instrumental accompaniment whatever, indeed in some cases it
would be objected to.
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In Vienna they have professional paid choirs, and these sing the
first verse of every hymn alone without the congregation, with a
light organ accompaniment. Upon the whole, the singing, which is
very plain and simple, is also quite hearty. There are neither new
hymns nor new music in the established churches, nor does
anything of the kind seem to be desired. Attempts are now being
made since the Luther Commemoration to get up an amateur choir to
lead in church services. In dissenting circles Sankey's and Gerhard's
hymns are largely sung, also two or three favourites by Kunt and
Straube (North Germany).
151
A FESTIVAL AT NUREMBERG.
As the train “slows" into the station at Nuremberg on
this September afternoon, one catches sight of a lad stand-
ing on the platform, holding a pole surmounted by a
Festival of the German Protestant Church-Song-Union is
invited to repair, immediately on his arrival, to the recep-
tion room. As, in obedience to this injunction, one passes
through the quaint streets of this old city, the tall gables
bend solemnly upon the wayfarer, breathing a benediction
from the past, speaking with the voice of that great
upheaval which, three hundred years ago, was the birth
of German Protestantism and of its music.
At the inn where the reception of members was taking
place, the talk ran high. There was nothing but friendly
greeting to be done, and I soon adjourned to my hotel.
One or two societies having objects nearly related to that
of the Song Union had taken the opportunity to hold
their anniversaries during the festival, and the first meet-
ing on this Tuesday afternoon was a conference about
Sunday schools, held in the St. Moritz Chapel. The little
place was full ; ladies sitting in the front seats and the
men behind. Wreaths of fir branches studded with red
paper roses hung on the walls, and several evergreens in
pots banked the rostrum from which the successive
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STUDIES IN WORSHIP MUSIC.
speakers addressed the meeting. Sunday schools in
Germany are in an elementary and chaotic state, if one
may judge from the discussion which took place at the
conference. Let us hope that opinion and organisation
were advanced by the meeting.
Later in the afternoon I attended a service for Home
Missions in the Church of the Holy Ghost, when Pfarrer
Beck from Kissingen preached to a crowded church.
Before and after the sermon a choral was sung with full
broad voice by the congregation, the organ, half a beat
ahead, driving the ponderous machine. There was no
choir; after the sermon some responses were sung in
unison by the congregation.
One of the greatest attractions of the festival I found in
the exhibition of church music literature in the museum.
A room was set apart for this collection, and the books
were spread on many tables, round which the student
could walk and read, glance and make notes at leisure.
First there was the antiquarian collection, Missals and
Psalters, and Service-books from the earliest days of
printing onwards. A near table was labelled “ Organ
music,” and here were the organ compositions of all the
leading German composers, with books of choral figurations,
ante- and post-ludes, interludes, fugues, and voluntaries.
Then there was a table filled with essays and theoretical
books on church music, histories, treatises on sacred
musical art, and periodicals devoted to sacred music.
There was a large gathering of oratorios and sacred
cantatas, another of motets for the usual mixed choir and
for men's and boys' voices, another of liturgies and chant-
books. The exhibition was most complete, and gave the
visitor an admirable insight into the spirit and movement
of German Protestant Music.
A FESTIVAL AT NUREMBERG.
153
At eight o'clock in the evening, in the great saloon of
the museum, there was a “greeting assembly.” The
Nurembergers turned out in great numbers to meet the
three or four hundred organists, school-teachers, and
clergymen who had travelled to the festival from all parts
of Germany. I went early, but found the world there
before me. The lofty suite of rooms, ablaze with gas and
mirrors, was crowded as I entered. Small tables, at
which five or six people could sit, were the order of the
night, and these were closely packed over the floor, so
closely that passage room was hard to find. Seated at the
tables were Nurembergers, their wives and daughters, and
the visitors, foregathering with demonstrative friendliness.
A truce to the “stony British stare !” Introductions
were unneeded. With the simple and respectful ease
which is so attractive a feature of German social life,
intercourse proceeded; each man addressed his neighbour.
No doubt one great factor in unbending the people was
the beer. That, it goes without saying, flowed fast and
free. Waiters hurried through the crowd with trays
poised on shoulder, each tray bearing a dozen or more
beakers of the great Bavarian drink. Swift as the waiters
were, they had hard work to satisfy the demand, and
alike white-haired and reverend divines, eager young
curates, dignified housewives, and refined, ladylike girls
buried their lips and noses in the nut-brown stream.
There was a request printed on the programme that men
would refrain from smoking until the second part of the
concert had begun. This was interpreted liberally, and
taken to apply only to the inner room where the music
took place. In the room through which we entered a blue
haze of tobacco smoke filled the air at an early stage in
the proceedings.
Seated in the principal hall, a sudden hush in the babel
of talk called attention to the orchestra, on which the
doubt of that, it goed throus bearing
one great goes withouth the crowdozen or more
ift as the war and
154
STUDIES IN WORSHIP MUSIC.
“Nürnberger Singverein" had, unnoticed, taken their
places. This is a mixed-voice choir, not connected with
any particular church, devoted to the practice of sacred
and secular music. About 100 voices took part in this
concert. The first part was sacred. It included two
choruses from Mendelssohn's Athalie, given with that
declamatory force, leaning to hardness of tone, which one
associates with German singing. The men's voices were
excellent, but too powerful for the women's. In England
we have generally the opposite effect; here the bass and
tenor almost drowned the air. The second piece on the
programme was called a “Scotch hymn-tune melody;"
what was my surprise to recognise in it the old tune “ St.
Brides !” The Germans have a strange habit of calling
all British or Irish tunes Scotch. “St. Bride's” was
sung by the men's voices, and each verse was differently
harmonised. Add to this extravagant rallentandos and
violent contrasts of shading, and the old air was disguised
as effectively as is a simple joint by a French cook.
Nevertheless it was vigorously applauded with cries of
"bravo" and clapping of hands. The Germans, by the
way, when moved to applause, never stamp their feet or
knock their sticks on the floor. Several specimens of old
church compositions of the fifteenth and seventeenth
centuries followed, all being sung a capella—that is, in
vocal harmony without instrumental accompaniment. Six
old folk-songs of the Low Countries, printed first in 1626,
were listened to with eager interest. They had their
origin at a time when the Protestants of Holland were at
war with the Spaniards.
The German Protestant clergy wear no fixed uniform.
Many of those at the festival dressed as laymen. Others
added to an ordinary layman's dress the white neck-cloth;
a few—from North Germany—had on high clerical waist-
coats; others, with shaven faces, looked like Roman
A FESTIVAL AT NUREMBERG.
155
Catholic priests; while others again seemed to have been
clothed-as Hood remarked long since of the German
students in a fit of enthusiasm by a romantic tailor.”
Between the first and second parts Dean Hartmann gave
a welcoming speech. He reminded the audience of the
place of Nuremberg in the Reformation, and spoke of the
new reformation in church music which it was the object
of the festival to promote. Other speakers followed;
between each speech conversation rose to a hubbub, sink-
ing to perfect silence as the new voice was heard. The
speeches, generally were from practised men. They im-
pressed me favourably. There was more attempt at
declamation and rhetoric than we affect in England. The
periods of the speakers were well rounded, and their
gestures animated. I formed the impression that the
· addresses were mostly delivered from memory. The two
sermons I listened to during the festival had all a literary
finish, yet they were delivered without manuscript or
notes. Each time, on leaving the church, I bought the
sermon, which had just been delivered, in printed form.
These sermons must have been spoken from memory, and
no doubt the habit of memorising has spread from the
pulpit to the platform.
The opening of the second part of the programme was
the signal for cigars, and the remainder of the proceedings,
which lasted until nearly midnight, will be best described
as a “smoking concert.” What a difference there is
between English and German life! Conventional standards.
are not right and wrong, and the thing was perfectly
natural and proper in Germany. But imagine the Church
Congress or the Bible Society inaugurating their yearly
meeting with a “smoking concert” at which ladies were
present, the first part consisting of sacred music! Using
neither beer nor tobacco I felt as a fish out of water, and,
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STUDIES IN WORSHIP MUSIC.
sickened by the heat and smoke, retired before the close
of the proceedings, carrying away, however, the recol-
lection of much stimulating talk with workers in German
Church Music.
The night's rest was short, for at half-past seven the
next morning some 1500 people filled the church of the
Holy Ghost for a morning choral service, the Nuremberg
Church Choir assisting. On entering the church everyone
received a pamphlet giving the complete order of service
and the words of the Choräle. A short organ prelude led
without pause into the first choral, “Gott, Du Licht,
das ewig bleibet," thundered forth from a thousand
throats in heavy massive unison. At the close of this the
people stood while the clergyman, facing the altar, upon
which stood ten lighted candles, slowly intoned the words
“Lord, open Thou our lips,” to which the congregation in
the same ringing hearty unison as before, responded " And
our mouth shall show forth Thy praise.” Another
petition and response and the Gloria Patri were sung.
The melodies used in these and the other responses are
traditional, of the Gregorian cast, sung slowly and without
rhythm. The congregation knew them by heart, as they
are employed at all Festival Services. The vigour and
universality of the response were thrilling. The choir,
high up in the second gallery at the “west” end of the
church, now sang a five-part motet by Palestrina, the
words from Psalm xxv. This, of course, was unaccom-
panied. The congregation stood during the singing. The
clergyman now turned his face to the congregation, who
remained standing while he read the first lesson. They
stood also during the singing of the choral which followed,
“Ich glaube, Herr, Du bist mein Gott.” During the
second lesson the congregation still stood. At the
Hauptlied, or principal choral, which followed, they sat.
A FESTIVAL AT NUREMBERG.
157
The sound produced by the congregation in this tune, as
in the others, was tremendous. Everybody knew words
and air by heart; German lungs are: strong; German
purpose is vigorous; these people have not yet learnt to
simper or whisper in church. With the roll of a mighty
stream the compact and lusty unison filled the air, touch-
ing the heart with the pathos of its rugged, homely
strength.
But my first impression of the “Rhythmic choral” was
not favourable. The movement in German Protestant
Church Music of which this festival was the expression, is
chiefly a reversion to old custom. The unaccompanied
motet is defended because it is a return to the early use
of the church; the question whether an organ accompani-
ment adds force and colour to the vocal harmony is not
discussed. And so with the Choräle. The ancient practice
was to sing them with notes of varying length. Bach
found that this practice had led to infinite disorder, so
he reduced all the choräle to simple two or three
time, and made the notes of equal length. The reformers
now seek to return to the use which prevailed before
Bach's time. They sing the choräle in what appears to
the stranger an impromptu mixture of two or three time,
with syncopations and passing notes in plenty. The
melodies, when written down, are not barred. For
example, here is a part of “Ein' feste Burg," written in
Ein' feste Burg ist un - ser Gott, Ein gute Wehr und
Waf - fen.
der alt...... bö - - se Feind,&c.
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STUDIES IN WORSHIP MUSIC.
To listen to a melody sung in this fashion was, to me,
peculiarly irritating. The ear involuntarily expects the
regular measures and balanced periods of modern music,
and is perpetually baffled in the attempt to bar the
phrases. On what ground the rhythmic choral should be
regarded as an improvement I am at a loss to know. It
may be archaic; but archaism in itself is no merit.
To return to the Choral Service. The choir next sang
a choral in unaccompanied harmony, the congregation
sitting and listening. Then followed the Litany, intoned
in measured phrases by the clergyman, who faced the
altar, the responses being heartily given by the standing
congregation. This led up to the Lord's Prayer, after
which the congregation sat, and the choir sang a choral in
harmony. unaccompanied, followed by a choral sung in
unison by the congregation. The benediction and offertory
closed the service, which had lasted an hour; there was
no sermon.
The three factors in the German Protestant Choral
Service are clergyman, choir, congregation. None ever
speak or sing together. When the congregation responds
the choir is silent. The organ accompanies the congrega-
tion in response and choral; the choir always sings its
motets unaccompanied. When the choir sings, the con-
gregation stands in silence. The choir never leads the
congregation in the responses ; the congregation depends
on itself. The clergyman offers all petitions standing in
front of the altar and facing it. He is the representative
of the congregation, who, with multitudinous voice,
respond to his prayers.
Nine o'clock found the members of the Congress, 700 or
800 in number, assembling in the old hall of the Rathhaus
for the business meeting. This was opened by the spirited
choral:-
A FESTIVAL AT NUREMBERG.
.
.
Lobe den Herren, den Mächtigen König der Eh - ren.
poured from several hundred manly throats, whose fulness
quite drowned the small organ which accompanied. Then
we stood to a short extempore prayer, and the conference
began. Two papers were read, the first by Herr Inspector
Zahn and the second by Dr. F. Zimmer, both advocating
the musical training of the clergy, precentors, and school-
masters. The principal points of each paper (Thesen)
were printed on a slip, and distributed among the audience.
I need not recapitulate the arguments of each reader. The
session was interrupted at eleven o'clock for a few
minutes' refreshment; it then resumed until half-past
one. The first half having been occupied with reading the
papers, the second half was spent in discussing them.
The discussion was conducted with great decorum. Each
speaker mounted the rostrum in turn, and the applause
was very discriminating. Some speakers received none.
At two o'clock, in the museum, there was a dinner, at
which about 100 members were present, including a few
ladies. The flow of soul was tremendous, and it cul-
minated with toasts given with “ dreimal hoch" to the
Emperor, the King of Bavaria, the municipality of
Nuremberg, the committee and the ladies. Oh, the clinking
of glasses and the shouts of "hoch"! Here I made
several new acquaintances, and was glad to learn in what
high esteem English church music is held. The opinion
was freely expressed that we are far in advance of Germany
in this regard.
The dinner was so much prolonged that when we left
the hall it was time to take our places in the St. Lorenz-
kirche for the choral service at five o'clock. This noble
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STUDIES IN WORSHIP MUSIO.
building, firm and venerable with the weight of six
hundred years, was packed literally to the doors by a
crowd of 3,000 or 4,000 people, attracted by the service
and by the sermon of Dr. Baur of Coblenz. It was Dr.
Baur who, half-an-hour before, had proposed the toast of
"the ladies" at the dinner in a humorous speech. A
Swiss pastor who sat by me was much shocked at this, and
said that in his country such a violent transition would be
considered improper. I need not dwell upon the second
choral service, which was, like the first, a mixture of
petition and response, choral and motet. The congregation
repeated the Apostles' Creed in the speaking voice, very
slowly, with pauses at the commas, moving together like
school children at a spelling lesson. The effect was most
solemn and impressive. The “Gloria in Excelsis” which
occurs towards the end of the Anglican communion service
was also recited to an old tone by the congregation, with:
full voice.
Dr. Baur's sermon was listened to with wrapt attention.
Starting with the familiar words in which Luther con-
secrates all arts, especially music, to the service of God,
he bade the congregation look at the walls of the venerable
church, to which the bells, like messengers from God, had
called them. From the windows pious pictures greeted
them in glowing colour. The forms of holy men, cut
from stone and cast in bronze, incited them to devotion.
Above them and around, the vast edifice waited to be filled
with the praise of God. Dr. Baur proceeded :-
“We wish to cultivate church-singing as it is practised by the whole
congregation. Therefore we began the day in church and close it in
church. The church choir, even when edifying us by the most
artistic singing, is after all the outgrowth of the congregation, and
its purport is to raise the singing of the whole congregation. Did
sounds mingle in our festival alien to the church, I should not be
standing here to send forth the word of God into the assembly, as it
A FESTIVAL AT NUREMBERG.
161
is done at divine service. Did the singing belong to an art which
wishes only to be art and not the servant of the church, I should not
dare to become the interpreter of your thoughts. For I am versed
in no other art in the realm of sound, than in that which God bestows
on all His people; I can only open my ears with you all for those
sounds which announce to us God's holy love. Only one advantage
falls to me, that of being allowed to thank the congregation for the
singing with which it edifies the preacher. Before the sermon the
clergyman sits in the vestry in a mood of joy and trembling. The
message he has to give is so great, the responsibility weighing upon
him is so heavy! Now he feels as though he would sing with the
seraphim · Holy, holy, holy'; now he would, like the prophet, sink
on his knees, crying 'Woe is me, for I am undone, because I am a
man of unclean lips!' But the solemn hymn of the congregation
strikes his ear: . Come, Holy Ghost, our souls inspire,' and,
strengthened in his soul, he steps up to the altar. Refreshed by the
faith shared with the congregation, expressed alternately in words
and song, he returns to the vestry, and again the mighty swell of the
choral fills his ear. Amidst such waves of spiritual movement he
enters the pulpit to announce the grace of God, in Christ, through
the communion of the Holy Spirit. O wondrous spiritual · rapport'
between the preaching clergyman and the singing congregation! I
have felt it and its blessed influence thousands of times, and praise
and laud with all my heart our Protestant church singing."
Dr. Baur then spoke of the Reformation, and told how
the spirit of God moved among the people at that great
epoch largely through sacred song:-
" It was a glorious beginning of Christian song in Germany, when
the Saxons, more than a thousand years ago, praised—as they had
been wont to praise their heroes—the Saviour, the Prince of Peace,
of all kings the mightiest. Rone prevented this spring of song from
becoming a river, overflowing all the land. A foreign tongue was
forcibly introduced into divine service, and the congregation became
mute, when the choirs sang unintelligible words. It had nought left
for itself but "Kyrie and Hallelujah.' Yet they would not be
altogether gagged. When, during that terrible time of the Inter-
regnum, your countryman, Berthold of Regensburg, travelled,
preaching, through all Germany, he recommended as a vade-mecum
for the dying that good hymn: More than for all else, we pray the
M
162
STUDIES IN WORSHIP MUSIC.
Holy Ghost for the right faith, and that He may guard us at our
latter end, when we depart home and leave this present troublous
world.' With such and other German-Christian hymns the church
comforted itself in despite of Rome. And all these brooklets of
hymds united finally in the river of the Reformation-Hymns.
Reviewing the German Choral—hymn and tune-
Dr. Baur said :-
Our German Protestant Choral may be viewed in five aspects
Firstly: It is the word of God become song—not human doctrine
however cunningly invented, not human tradition, however pleasant
its sound. The Word abideth* Secondly: The glory of the Word,
the glory of our Protestant hymns is the Sun, Jesus Christ-not
the cloud of saints. As the hymn says :-
Let him who will, seek other means
To realise salvation,
My heart in sooth,
Clings to the truth
Of Christ the sole foundation.
Thirdly: Our Protestant hymns proceed from faith; they are neither
the product of outward obedience, soft feelings, nor unbridled fancy
And the voice of faith says : "Lord my strength, source of my joys
Thou art mine, I am Thine, No one shall us sever.' Fourthly :
Because there is no more noble manliness than that of the Christian,
the freeman of Christ, uniting, as Luther did, childlikeness and
heroism, therefore our German Choral has a manly tone: · Prove
yourselves as lions, unconquerable as the early Christians; look upon
their martyrdom !' Lastly: This manly faith sings of the glory of
Christ, out of God's word, in Popular guise; this faith enters the
church, and all christendom bursts forth with one soul and one voice-
preacher and congregation, man and woman, master and servant,
young and old—the whole host of Christians. Luther sang :'A new
song we'll sing to the Lord it it be God's will.' And it has been
God's will. From Luther's days until now the song has ever been
* This statement needs explanation. The Germans have no
versified psalms, but the idea underlying this or that psalm has often
been made the basis of a hymn. Taken as they stand, Dr. Baur's
words might be supposed, by an English reader, to imply that the
German Protestants were in sympathy with the anti-hymn party
among the more conservative Presbyterian bodies. This cannot be
the case.
A FESTIVAL AT NUREMBERG.
163
enriched by aew melodies--how could I name them all? In fine,
our fathers sang with all fulness, and they summon us too, to sing to
the Lord a new song !"
Dr. Baur next spoke of the spirit yielding itself to the
rapture of sacred music, and through it anticipating the
joys of heaven :-
" The most perfect church-architecture, that in which the very
stone seems to feel a longing for the higher world, points to heaven.
The wealth of colour, in the service of the saints, shows us pictures
of paradise as it has been and will be. But sacred song gives wings
to the soul to rise out of this evil life, out of this nothingness, up to
Jerusalem, the city on high. We must, by means of sacred song,
prepare ourselves in faith, love, and hope for the great Hallelujah.
The great Hallelujah is sung in the world beyond; faith tells us of it,
faith, the substance of things hoped for, the evidence of things not
seen, the apprehension of what exists beyond the phenomena of the
present. Listening to the announcement of the greatest facts that
earth has seen, in the most perfect music of Bach's · Passion,' I have
shut my eyes and only opened ear, soul, and inner man. I then felt
as if with the spirit's eyes I beheld a congregation of spirits. Had
not sound been severed from the singer, as the soul escapes from the
body? But did not the tones, rising freely on high, still bear the
impress of the singer's individuality, just as the soul, severed from
the body, represents man in his entirety, only purified ? Had not all
sounds been welded together, just as the souls of all believers ought
to be but one communion ? Was this sacred tissue of sounds, rising
aloft from earth, not a wondrous type of the eternal world on
high ?”
After the sermon there was a choral, then the Lord's
Prayer, then a motet by the choir, followed by the
petition of the clergyman: “Lord, abide with us, for it is
towards evening,” and the response, “ And the day is far
spent." A collect followed, then the benediction, and the
vast congregation dispersed to the music of a postlude
from the ponderous organ.
Upon the remainder of the festival I need not dwell.
In the evening there was an exact repetition of the
164
STUDIES IN WORSHIP MUSIC.
"smoking concert” of the night before, except that if
possible the rooms were hotter, more crowded and more
noisy. The Nuremberg Teacher's Song Union (male
voices), and the Nuremberg Church Choir (mixed) sang
part-songs, between which there were solos, speeches, and
the buzz and uproar of conversation, stimulated by much
harmless beer and more cigars. On the following morning
the sights of the town were thrown open to members of
the congress, and, divided into parties, we were con-
ducted by antiquarians over the museum and the old houses
and halls. Many of the strangers did not stay for this
visit, and before many hours had passed the trains were
scattering these German Church Musicians in all directions
over the broad plains of the Vaterland.
165
THE MUSIC OF SUNDAY SCHOOLS.
In order to have a good basis for the consideration of this
subject, I addressed a series of questions to nearly two
hundred of the largest and most important Sunday schools
of various denominations. The organising secretaries of
the Church of England Sunday School Institute and of
the Wesleyan Methodist Sunday School Union were good
enough to give me a list of affiliated schools noted for
their singing in all parts of the country. The secretary
of the Sunday School Union gave me a similar list, which
included Congregational, Baptist, and Presbyterian schools,
and from the Year Books of these bodies I supplemented
the list, sending my questions only to the largest schools.
Mr. J. R. Parlane, of Paisley, gave me a list of Scottish
Sunday schools excelling in music, and I further addressed
questions to a number of Sunday schools in the large cities
of our American and Australasian colonies.
As a result I have received 148 replies to my twenty-
five questions. The answers are full of pointed information
coming from earnest men who are in sympathy with
Sunday school work, proud of their schools, yet anxious to
make them better. For this reason they have great
practical value.
The average musical condition of Sunday schools must
evidently be below the mark revealed by these replies.
The information comes from large schools, where there is
STUDIES IN WORSHIP MUSIC.
a diversity of talent, containing town children, who are
more musical than country children. But, speaking
generally, all may learn much from the answers I am
about to summarise.
My first question was, “Is the singing in your Sunday
school satisfactory ?" To this 64 answer “No," and 79
answer - Yes," but of these 79 no less than 39 qualify
the “Yes” with such words as "fairly so," or "compara-
tively," while one or two underscore the “No” with two
or three lines, and one, in place of “ No," writes, “It
could hardly be worse.” I subjoin a few of the replies:-
“On special occasions, as School Anniversaries and Festivals, after
special training and practice, our singing is unusually good, the
scholars joining in with intelligence, and an appreciation of the
meaning of the words."
“Our Sunday school is held in the church, where the scholars are
widely separated in the galleries and transepts, so that we cannot
expect very good singing."
Speaking of the Sunday schools of Wales generally, the character
of the singing in them is much the same as that of the congregations
to which they belong. The schools are invariably composed of adults
as well as children. The singing connected with the opening exer-
cises may be said to belong mostly to the adults, though the children
take part in it. The singing at the middle and end of the school
belongs to the children.”
“The singing during divine worship in the church depends mainly
upon the choir, which consists for the most part of Sunday
scholars."
“The quality of the singing depends on the number of scholars
present. I find that if three or four of the leading voices are absent
the others seem afraid to sing out. As a consequence, the singing is
poor, and if the instrument is played too softly the children get very
flat indeed.”
“ At times, without apparent reason, the school does not show its
usual heartiness."
school."
THE MUSIC OF SUNDAY SCHOOLS.
167
“As a rule, the adult scholars sing well, many of them being in the
choir and singing class. Many of the junior scholars do not provide
themselves with hymn-books, and feel no inclination to sing."
My second question was, “Do a fair proportion of the
children join in the singing ?” To this 17 answer “No,"
and 128 “ Yes,” of whom three give the very satisfactory
answer "all.” One adds “Especially in such tunes as
have been learned for Festivals.” Others write :-
" A fair proportion join in the hymns, but from carelessness,
indifference, and other causes, children can nearly always be seen
during the time of singing with mouths either closed or engaged in
talking. A number of the boys appear to have no desire to buy
hymn-books for themselves, and for the benefit of such the school has
provided books. We find that this plan has had the effect of making
the singing more general.”
“The children in this locality (Wales) are naturally musical, and
“This depends on what the hymn is. If we have a popular hymn,
we get the bulk of the children to sing. Such for instance as · When
mothers of Salem, I want to be an angel,' Hark! the gospe
news is sounding. But if we have an hymn of an experimental or
doctrinal nature, we find that the number who join in singing it is
very much less, and scarcely a fair proportion.”
- Almost all the girls join as a matter of course, and a large
majority of the boys, except when the hymns are of a character to
require subdued singing, when some of the boys are very apt to
remain silent."
" Each child is expected to show the hymn-book and Bible on
entering school. The punctuality ticket is only given to those
doing so."
"I shall never forget the impression on my first Sunday at —
(now ten years ago). Afternoon school closed with the hymn I
would not live alway. There were at that time a large number of
senior scholars, and the harmony was inspiring, and most helpful to
true worship. We have nothing of that kind here. With a fine
school, over 50 well-conducted classes, every other branch of the
work under good control, I regret to say our singing is deplorable.
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STUDIES IN WORSHIP MUSIC.
Only when we make a desperate effort for Anniversary hymns or
other special occasions do we get anything like good singing."
“Our children join in when words and music are within their
capacity.”
“ The girls generally join heartily in the singing; the boys only
when the tune happens to be one they know well, such as · Around
the throne of God in heaven,' or such hymns as they were taught in
the infant class."
Several say:-
“When the hymn and tune are well known," "When the tune is
a lively one, and more than one reports that “ The girls sing better
than the boys.”
"Hymn-books are provided for all, and each teacher is responsible
for seeing that each scholar has one."
“ When the children do not join in, it is because they have forgotten
their books or are looking about them.”
" I have made a calculation, and am able to state that in last
Sunday afternoon's school not half our scholars joined in singing,
even though the hymns selected were purposely well-known ones,
while most of those who made any attempt, sang in an indifferent and
careless manner that had no spirit of worship in it.” [This refers to
a large London school, and is very sad reading].
In reply to my next question, over 50 hymn-books are
mentioned as being in use. Seren schools use several
books, and five have a special book of their own. Speaking
of the Welsh Sunday schools generally, a correspondent
says :-
- The hymn-book used in the schools is that used in the congre-
gations. Each denomination has its own hymn-book, though most
of the tunes and hymns are a common possession. For children
exclusively some of Sankey's tunes have been adapted to Welsh
words by various authors, and original compositions have arisen in
the same style."
“What tune-book do you use?” The reply is that in
some cases hymn and tune books in one are employed.
Nineteen schools use several books, and a number of schools
THE MUSIC OF SUNDAY SCHOOLS.
169
draw good tunes from any and every source, the leader and
perhaps a few others having MS.. or leaflet copies.
Several correspondents say that as the power to read
musical notation is not common among the scholars, the
tunes are of no use to them. One writes :-
“We are old notationists; but in justice, I must say that the read-
ing is very poor, and I think we should do better as Tonic Sol-faists.”
There are many complaints of the tampering with the
received harmonies of standard tunes which occurs in
recent books.
“Have the scholars the tune before them on the same
page with the hymn ?” To this 117 answer “ No," and
23 answer “ Yes," of whom five qualify the “ Yes" with
“some.” This shows the extent to which singing by ear
prevails. Other correspondents write :-
“Only a small number have the larger edition of our hymn-book
containing the tunes.”
“ The very useful leaflets (old notation and Tonic Sol-fa) are used
largely."
• The first treble of Jackson's Te Deum in F is attached to the
books of all the scholars.”
“I think a book printed with the air of each hymn, in Tonic Sol-fa,
would be most useful, as most of our junior scholars now learn to
sing by the Tonic Sol-fa notation in the Day School.”
“ About forty teachers and scholars use the tune-books which are
kept at the school, and lent out to those who can use them.”
“ The demand for hymn-books tends towards the cheaper forms,
without music.”
The next question is “Is the singing under the special
charge of an officer appointed by the school ?” To this
88 answer “ No," and 66 “ Yes.” In some of the cases
the person who has charge of the singing is not specially
designated as an officer of the school. I subjoin some of
the shorter answers:-“ One of the teachers ; " " the
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STUDIES IN WORSHIP MUSIC.
church choirmaster;" «The church organist;” “The
superintendent” (this occurs several times); “Two
teachers, one for the children's church, the other for the
Sunday school ;” “The person who plays the harmo-
nium;" "No one special;"."No, except for a few weeks
preceding an anniversary" (this more than once); "The
lady superintendent;” “We have a person to start the
tunes,” &c. Others write :-
“ The conductor of the church choir visits the school periodically
to superintend the singing and to practise the tunes.”
“Yes, we have a conductor, also two critics, who make suggestions,
besides an organist.”
"In each of our schools we have a specially appointed officer or
leader. In all we have six such leaders."
“We have a teacher for an elementary class, who is not present on
Sundays."
“ The leader of the church psalmody is appointed by our Kirk
Session to be also leader in our Sunday school.”
“ The singing conductor is not elected as an officer of the school
along with the other officers, but practically he is one of them.”
- No, we have nobody capable who is willing, hut we have made
arrangements with the church organist to spend half-an-hour, on the
second Sunday in the month, in the afternoon, to teach the scholars
some new hymns."
"Lady teachers, belonging to our City Philharmonic Society,
attend on Sunday mornings for half-an-hour before the separate
service commences, and teach the children fresh tunes from the
hymn-book.”
The question which follows depends on the preceding
one. “Supposing there to be an officer specially charged
with the care of the singing, how does he go to work ?-
By forming a school choir ?-By practices on week-day or
Sunday ?-By elementary singing classes ?”
In reply to this 15 have a school choir, and 16 expressly
say that they have none. Week-day practices are held in
THE MUSIC OF SUNDAY SCHOOLS.
171
22 cases; Sunday practices in 18 cases, elementary sing-
ing classes in 13 cases. Seven schools go in for all three; .
six for week-day and Sunday practices, and one for week-
day practices and an elementary class. An endless variety
of plans for cultivating the singing appears to be adopted.
I quote some of these :
“ The practice is almost always on Sundays, but at other hours,
than those of the school” (Wales).
"At the children's church there is a balanced choir of 22 voices,
meeting once a week for practice. In the Sabbath school there is no
choir; the singing is conducted from the desk, with harmonium
accompaniment.”
"Our singing leader teaches a singing class about every other year
during the winter months, and also prepares the scholars to sing a
Service of Song for special occasions.”
"I go to work by interesting the scholars in really good music,
and avoiding Yankee dance tunes. The most advanced and interested
scholars (150 to 200) take part in a moderately difficult anthem at
our annual festival. For this, weekly practices are resorted to. The
most promising scholars are selected from this number, and trained
in elementary classes to sing from note, in order that they may join
the church choir and our choral society.” (Yorkshire).
“Recently the precentor has had an elementary class, but it is not
a success. I conducted one myself (superintendent] for several years,
and the result was gratifying.”
“We go to work by playing the tune on the harmonium, and the
whole school learning by ear.”
“A Sunday school choir of 20 voices has recently been formed.
It meets for practice at the close of school on the last Sunday after-
noon of the month, and occasionally during the week.”
"Practices are held on week-day for the purpose of mastering the
music, and on Sunday for devotional purposes. I secured the interest
of members of the church choir, and taught singing by note in my
day school [the writer is schoolmaster as well as superintendent], and
have found no difficulty in securing good attendance.".
“We have a school choir which meets for practice during the
week. There is also a singing practice connected with the Band of
172
STUDIES IN WORSHIP MUSIC.
Hope, open to any scholars who like to attend. Many of our
scholars learn musical notation at day school.”
“During the present winter I have given a course of three months'
Tonic Sol-fa elementary teaching, but it has been attended so far
with very poor results.”
"On Sunday evenings, while school assembles, about half-an-hour
is spent in practice. For many years we have had a school choir
formed of scholars (not teachers), and have held a weekly practice.
We find that the day schools teach musical notation and theory;
hence we concentrate our attention at the practice upon tasteful
singing."
.“ Our leader beats time from the desk, and calls attention to such
lines or verses as require to be sung softly or otherwise. He also has
a practice of the whole school for twenty minutes once a month on
Sunday afternoon when the ordinary lesson is concluded."
We have a practice every Sunday for half-an-hour before school
begins. Also a school choir that unites with the church choir at all
its practices. Also an elementary singing class weekly during the
winter months.”
“Our leader leads the school by singing the treble.”
“He does not go to work at all.”
“We practice the tunes to be sung in church on the Sunday
morning."
“ The choir sing every new tune over to the general school.”
“We have a choir of children who have taken the Tonic Sol-fa
elementary certificate. This we feed by an elementary class formed
every autumn under a lady teacher. A tune-book is given as a
prize to those who gain the elementary certificate.”
"A school choir formed from the senior scholars leads the singing
from a platform.”
“We experience great difficulty in getting the children to come
to evening practices."
" If any tune be sung wrongly during Sunday school I stop the
hymn, and make the scholars Sol-fa the incorrect passage from the
Modulator."
“The precentor of the church meets the children on Friday
evenings, and practises the hymns to be sung on Sunday at the
school.”
THE MUSIC OF SUNDAY SCHOOLS.
173
“We have two elementary Tonic Sol-fa classes, one senior and the
other junior; the senior one feeds the church choir; the junior one
helps the singing of the Sunday school.”
“The conductor of the church choir is also conductor of the
Sunday school singing, and almost without exception the members
of the church choir attend the Sunday School. For special occasions
the conductor invites all the scholars to meet the church choir for
practice. A Sol-fa singing class meets once a week, and has had a
beneficial effect on the school singing.”
To the question, “Is the teaching ever suspended in
ordinary school hours for the purpose of teaching the
hymns ?” 72 answer "No," and 63 answer that it is sus-
pended on special occasions. These interruptions take
place usually before the anniversary service, and vary
from two Sundays to, in one case, 15 or 20. In several
cases the teaching is not suspended, but the time of the
address (20 minutes) is devoted to practice when necessary.
One superintendent says:
“We think the time profitably employed, as the hymns and tunes.
then newly learned are sung in the homes of the scholars."
Another writes :-
"In the branch schools connected with this school one Sunday in
every four is set apart and called “ Singing Sunday," on which.
occasion there are no lessons."
Summarising I find that
2 schools suspend the teaching for 1 Sunday in the year
Co Co er vos
8C voor A CONH
174
STUDIES IN WORSHIP MUSIC.
My next question relates to a School Choir. “Have
you one, and if so do the children belonging to it leave
their class-places and stand together during the singing ?”
The reply to this is that 52 schools have no School Choir;
27 have one, the members of which keep their class places
while singing; and 17 have one, the members of which
stand together while leading the singing. One correspon-
dent writes :-
“Besides the hymns we practise anthems, choruses, &c., some of
which are sung at the annual parents' meeting at Christmas,
preparation for which gives zest and definiteness to our efforts."
Another says:-
"The formation of a Sunday school choir for practice of music for
the annual festival of the Church of England Sunday sehools at the
Crystal Palace has had the effect of bringing swarms of young people
together who are willing to grind away at set pieces almost entirely
by ear to an unlimited extent, with the prospect of a day's holiday
ahead. The effects musically are, I fear, beneath contempt, compared
with the time and patience wasted on them. I speak with some
experience, as I have for two year's conducted some of the local
practices in the hope that they may lead to something more
systematic."
A third writes :
• Christ and His Soldiers,' with full orchestral accompaniment."
Another says:
“ I cannot get our scholars together during the week. I have
made three attempts during the last four years without success."
Another :-
“ A great stimulus to the practice of music are the competitions
that we have for school choirs.”
In several cases there are flourishing choirs attached to
the schools, performing sacred cantatas from time to time.
"In Wales we have district congregational festivals, in which the
children unite. A number of hymns, with their tunes, are selected
THE MUSIC OF SUNDAY SCHOOLS.
175
as a subject of study and training for twelve months. The training
is not only musical. It includes the explanation of hymns and
school addresses founded thereon. On an appointed day all the
congregations meet in one place to hold the festival.”
I next ask “Is your school singing expressive,
changing in style with the spirit of the words ?" To
this 61 answer “No," and 56 “Yes,” though of the latter
15 qualify the “ Yes” with "fairly so," or a similar
phrase. I subjoin some of the replies :-
“We endeavour to carry out expression when there is a decided
difference in the spirit of the words. It is a difficult thing to obtain
with children.”
“For all special services the hymns are marked with expression
signs, and we always try to explain not only the signs, but the
reason for putting them there."
"It is in expression that Sunday school music fails. Hymns are
sung thoughtlessly.”
"The italic and capital letters which mark the expression in our
hymn book are a very great assistance to the scholars, and in
unmarked hymns I tell them before singing which parts should be
soft, or make a sign at the time with my hand.”
"I find that in large meetings of people, whether old or young,
it is almost impossible to obtain a piano. When piano is attempted,
many cease singing. A congregation or school will give a forte, but
a piano only by cessation.”
"A few words from the superintendent before singing the hymn
generally accomplish the object.”
"Our singing is not very expressive; but then we do not strive
to make it so; we do not approve of dramatic treatment."
" The organist endeavours to suit the speed and expression of the
music to the words sung, and the scholars respond fairly well."
“The expression is marked in the margin of the hymn book, and
is certainly attempted.”
"The children need frequent reminding, but seem to intelligently
appreciate what is meant.”
The next question is " Are you troubled with the boys
shouting ?” To this 84 answer "No," and 37 “Yes."
Some of the answers are here given :-
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STUDIES IN WORSHIP MUSIC.
" They are trained to falsetto singing [this refers to the use of the
higher register, in which all well-trained boys sing], and they are
compelled to sing so or not at all. They soon get into falsetto
singing."
“For schools of boys only we should lower the pitch consider-
ably.” [This would encourage the use of the lower or chest register
in which the shouting takes place.]
"I was at first much troubled, but by speaking softly to the boys,
and taking care that they understood what they were singing about,
I was able to reduce the shouting to very small limits.”
“We have no shouting. All the classes are mixed (boys and
girls).”
"Shouting is difficult to prevent. When the boys are checked,
no matter how kindly and judiciously, they not unfrequently cease
singing."
“When our boys and girls meet together for special occasions
the sweet singing of the girls is entirely spoiled by the sbouting of
the boys."
"Generally speaking, we are not troubled with the boys; the
difficulty is to get them to sing at all."
"By considerably reducing the volume of sound from the organ,
and so letting the boys hear themselves shout, a decent mode of
singing is secured.”
“The influence of the choir has toned down the boys."
“Is it usual to explain and study the hymns in the
classes.” To this 109 answer "No," and 22 “Yes,"
seren of whom qualify the “Yes” with “occasionally."
A second question is appended to this, “Are addresses
ever founded upon the hymns ?” To this 92 answer
“No” and 37 “Yes.” The fact is, that hymns are
generally chosen to suit the character of the address,
though the addresses are seldom given with a hymn as
their text. Here are some of the replies :-
“Sometimes two or three hymns will be sung, and observations
made upon them, instead of an address.”
• The hymns are often sung with comments and hearty exhore
tations between the verses, more on the matter than the manner of
THE MUSIC OF SUNDAY SCHOOLS.
177
the music. This has a great influence on the delivery and rendering,
and stirs up the hearts of the children. It is living work, and the
more deeply they are impressed, the better they sing."
"I question the whole school on the meaning of words and
expressions used in the hymns."
In answer to my enquiry as to the kind of poetry best
suited for children there is a large variety of replies :-
“We believe strongly in teaching the best of our congregational
hymns, knowing that such hymns are never forgotten. Sankey's
hymns I consider inappropriate in Sunday Schools where regular
religious teaching is given, and in a sense demoralising. They may
be useful in ragged schools."
“I consider as unsuited to children hymns which contain no
Gospel or even moral teaching, but are composed of a number of
flowery expressions and figurative ideas."
"Hymns are unsuited to children in which they are made to
express states of feeling they do not understand—wanting to be an
angel, wanting to die, consecration, and many used in the sensa-
tional revivalism of the day. Those bearing on Christian faith and
doctrine should chiefly be used in select classes."
“I find that Gospel hymns and devotional hymns, of a real and
earnest character, very direct in style, are the best, along with
specially written children's hymns of a direct and purpose-like sort. :
A child's hymn should not be childish. Children's hymns should be
plain and practical, true in expressing real and actual religious
feelings; nothing merely imaginary. Many hymns commonly
considered as only suited to grown-up people and advanced
Christians are far more so for the young, and with hearty and honest
application are the very thing."
" Any hymn in which the main thought is so involved in imagery
as to become obscure, I consider not suited for children. Long
words, and words not in ordinary use, also mar the suitability of the
hymn."
" Avoid what the scholars would call baby hymns, and such as
treat of everlasting pain, and give children the impression that our
Heavenly Father is a harsh and hard, instead of a loving and holy
Being."
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STUDIES IN WORSHIP MUSIC.
"I prefer a judicious mixture. There is no doubt that children
enjoy most such a hymn as “Ring the bells of heaven.”
"I prefer poetry on the pleasantness of the Religious Life, the
goodness of God as manifested in creation, Providence and Grace,
the Bible and the Sabbath, the love of Christ and His wonderful
parables and miracles, &c.”
“I have often taken notice, and come to the conclusion that
doctrinal and gloomy hymns when sung by children are purely a lip
service."
“Hymns that speak disparagingly of the earth, and express a
desire to leave it at the earliest possible opportunity, are in my opinion
unsuitable for children.”
“ The hymns with choruses seem to take best.”
“Hymns of a doctrinal and gloomy kind are not suited for children, .
although there certainly must be occasions when even death and
judgment can properly be brought before the scholars.''
- The hymns should bear on God's relationship to childhood and
youth."
“ Punishment, though it is true and must be taught, is not a thing
to sing about."
“ Avoid hymns which treat sacred themes flippantly, for example,
· Hallelujah, 'tis done.'".
“ I agree with Mr. Bickersteth, who says that, when met in school,
the scholars asie met as a church, and we use freely all the hymns in
our Church Hymn Book, believing that scholars, to their extent, can
thoroughly use them. This is a matter of training ; scholars accus-
tomed to such hymns as · Jesu, lover of my soul,' feel a self respect
which infantile hymns cannot inspire.”
"The hymns which go best in our school are those which have a
special tune to them, with or without chorus."
"I could repeat and understand the beautiful hymn · The spacious
firmament on high' almost from the time I could walk."
« The most suitable hymns express natural, healthy sentiment;
delight in God, in nature, in home, &c., expressed in truly poetical,
that is in truly simple, but not childish and namby-pamby language.
Avoid I want to be an angel,' because children do not want, and
ought not to want to be any such thing, but good, loving boys and
girls. Hymns about longing to die, crossing the river, and so forth,
THE MUSIC OF SUNDAY SCHOOLS.
179
are most unhealthy. No child wants to die. Life, more life and
fuller' is what a child wants."
“Here are two passages from hymns in our book that I consider
unsuitable to children, Nearer to Thee, e'en though it be a cross
that raiseth me,' and · Methinks I can see the blood-gushing fountain
fast flowing for me.”
"It appears to me to be a wrong thing to set a hundred children
to sing. I want to be like Jesus' when not half of them have any
serious thought about the matter. It is simply a machinery for
making hypocrites.” [This objection is a very old one, and lies
against all collective worship, exhortation, or praise. The fact is, the
sentiments must be a little in advance of the worshippers if they are
to be aroused and led on).
The general opinion seems to be that both styles of
hymns are useful.
The question as to style of tune is closely allied to that
of style of hymn, for as the old standard hymns are
generally allied to solid and sober tunes, so the American
hymns, with their flowery metaphor, are generally mated
to light and jerky tunes. Some remarks made by corre-
spondents under this head are, however, worth quoting :-
" American negro melodies should be for ever banished. Many
of our favourite tunes are by Dykes, Barnby, and Sullivan.”
Minor tunes, as a rule, are of no use. The heavy, style of
· Hymnal' tune is of no use. Church tunes are of little or no use.
The harmonies should be all simple, broad, and strong."
Tunes like Smart's to Just as I am,' Redhead's to · Rock of
Ages,' &c., though taking more time to teach than the ear-catching
tunes, are more liked, and remembered longer. I should say avoid
tunes of severe dignity, and also those of the mawkish puerility of
some of the American importations."
- To my mind, many of the American tunes are nothing but
jigs."
We use the standard tunes always, but I have no doubt that the
scholars would like the trivial music if they could get it."
- The American tunes do not retain their freshness like the old
standard tunes."
180
STUDIES IN WORSHIP MUSIC.
“ The light American tunes are readily picked up, and seem
popular, but I do not think they wear nearly so well as standard
tunes."
"Cannot we like · French' without disliking · Hold the fort ?'
All styles of tunes are good so long as they are tuneful."
“The children are less reverent when singing the light American
tunes."
" Very little of the vertically harmonised modern music goes
down in our district. It is quite disheartening to buy modern tune
books and find the good old tunes disarranged, and a lot of new
tunes with no pretence to melody ; correct, but without feeling."
“ Many hymns of peculiar metre are associated with one tune
only, and this, for the sake of the music, is often sung at times when
the words are not appropriate."
more tunes, which, while they retain the lightness and attractiveness
of the American tunes, shall be sounder music, better harmonised,
and of a more lasting character.”
Next comes the question of instrumental accompani-
ment. In 21 schools the singing is unaccompanied ; in
20 there is an organ ; in 77 an harmonium; in 18 an
American organ ; in 8 a pianoforte, generally a grand.
One school has a harmonium and two violins, but the use
of orchestral instruments, except at anniversaries, is not
common.
The testimony in favour of instrumental accompani-
ment is striking. No less than 68 schools say that the
singing has been improved by the accompaniment, while
only eight say it has not been improved, and four are
doubtful. I append a few remarks :-
"We had formerly a good leader (gentleman) under whom the
singing was better than it now is. Possibly because the scholars sing
more lazily when the instrument leads."
“The organ helps (1) by giving variety of tone. Anything which
legitimately interests the scholars is valuable. (2) By giving full
harmony, which in a Sunday school it is often difficult to get. (3) By
controlling-suggesting, I should say—the expression."
THE MUSIC OF SUNDAY SCHOOLS.
181
“ The singing is improved, perhaps, in correctness, but it loses in
vigour and in self-sustainment."
" In school I think the piano would be better than the harmonium.
The harmonium is generally badly played, because not properly
understood."
"Since the organ was introduced 12 years ago the singing has
most decidedly improved. It is more brisk and expressive, and new
tunes are introduced with much less difficulty.”
“Our school is 68 years old, and for more than half that time
there was no instrument. My father tells me that, all things being
equal, the singing is just as good now as it was before, there being
nothing to choose between the two."
"I should, as a matter of experience elsewhere, object most strongly
to the introduction of an instrument Training the children would
yield infinitely more valuable results.”
“The singing is very much helped by the instrument, but the
instrument is kept in its own place, and it saves a great deal of wear
and tear of the voice in leading. We have always had this help,
and it enriches the music. It is never allowed to dominate the sing-
ing, and there are never any voluntaries or exhibition pieces." .
" I consider the singing far better without. We can hear all the
four vocal parts."
“I believe the singing is better with the instrument than it was
without it, but decidedly the best singing I have had in any parish
in which I have been minister was one where there was no instrument.
There we had a capital leader, and that, more than all the instru-
ments in the world, explains the difference.”
"I frequently stop the playing for a verse or two without saying
anything about it, to see if the children are really interested. When
I am satisfied, I ask the player to go on."
“ The singing is not so hearty, but I don't think the instrument is
to blame for that. The number of hymns and tunes used in the days
when our singing was unaccompanied was much more limited than
now, and both hymns and tunes were thoroughly known to all.”
“I like the effect of an organ or harmonium, but if the money
they cost were spent on training singers the result would be far
superior.”
“ Certainly more attention was given to the teaching of music
before instruments were used."
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STUDIES IN WORSHIP MUSIC.
“When our children sing without the instrument I always think
that the effort is very poor and feeble, and if I can find the key into
which they have got after about the second verse (!), I generally join
in with the instrument, and all goes right.”
“Our friend who plays the piano can put thunder and lightning,
roaring winds, murmuring brooks, twittering birds, or fading echoes
into her accompaniment, as the words of the hymn may suggest,
while the air of the tune is not heard. The effect, to my unmusical
ear, is sometimes quite absurd, while I am convinced that our
worship suffers."
“Do your scholars sing any other music than hymns ?
--For example, Choral Responses, Chants, or easy
Anthems ?" There are 91 “No's” to this question,
while 10 sing other than hymns on special occasions, 2
sing Choral Responses, 14 sing Chants; 14 sing easy
Anthems, 4 sing all of them, &c. In a number of
schools it is the custom to sing hymns to a chant.
In answer to a question about the mode of leading the
singing, several remarks are made :-
“ The singing of both our choir and congregation would be
wonderfully improved if led by the bâton. I hope the day will
come when it is so led, and prejudice be overcome.”
“ The choir stand three-quarter face to the school, and the whole
school can see my conducting with a bâton."
“We have a three months' system, teachers sharing the work of
leading."
Summing up the replies under this head I find that in 34
cases the same person who plays the instrument leads the
singing. This includes several cases where the reply is
o the singing is led by the instrument." There are, on
the other hand, 80 cases in which the leader of the
singing is not the player, and several correspondents in
whose schools the two duties are combined think it would
be better to separate them.
o We have a choir of 18 voices who are trained with the bâton
only (without accompaniment), as you suggested at the first meeting
THE MUSIC OF SUNDAY SCHOOLS.
183
of the Bristol Choirs Association. I have trained them to a bright,
quick style of singing, of course having regard to the style of hymn
to be sung."
The question, “Have there been any Sunday school
choir competitions in your district, and if so, have they
done any good ?” is variously answered. One hundred
say there have been no competitions; 20 say there have
been some; of these 20, nine say they have done good,
two are doubtful, and one says they have done no good.
I quote some of the replies :-
“There was a competition last year, and great good seems to have
resulted. Public interest was awakened, and the music of our
schools received a decided impetus. The competition was a success;
the collection at the united recital more than meeting the expense of
the scheme."
“ Band of Hope competitions are becoming common in Wales, and
these may be looked upon as Sunday School Competitions under
another name. The results, I think, must be beneficial.”
"United Festivals of Song have been held under the auspices of
our Union, and have undoubtedly helped to raise the standard of
singing in our schools.”
“Competitions have been held, and may have done good, yet
their influence is evanescent compared with the labour of prepar-
ation; they seriously interrupt ordinary work, and are apt to
stimulate rivalry unduly.”
“We have had several musical festivals with 1,000 voices, and
the effect upon our school singing has been very happy."
" Competitions of choirs taught by ear are of no use whatever.
Choir competitions should include a sight-reading test to be of any
real value. Those held here are a ridiculous sham.”
“Competitions stimulate singing and not praise, and they are of
no use for evangelistic work."
I asked in the last place for any further expression of
opinion on making Sunday school music helpful to
devotion and the spiritual life, and attractive to the
scholars. The following are quoted from the replies :-
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STUDIES IN WORSHIP MUSIC.
"In most districts of Wales, a Sunday School Festival is held
once a year, when a nnmber of schools come together to be publicly
catechised in subjects previously prepared. Individual tests in
reading music at sight are universal at these gatherings."
" In Sunday school worship is yet far too much regarded as a mere
appendage to teaching. If intelligence is the spirit of worship, the
fact, the truth that we assemble for the purpose of worship, must be
thoroughly realised, and teachers by their very deportment ought to .
make this plain. How often the singing time is used to conceal the
transaction of many little details of school work-marking the
register, &c.”
“My experince as a member of a church choir for many years is
that let the singing be as attractive as it may be, it adds little either
to the devotion or spiritual development of singers. Something
deeper than merely good singing is, in my opinion, required.
Singing, while helpful, is, after all, only an incident in Sunday school
work."
“ Nothing will so assist hearty and devotional singing as the
multiplication of intelligent and trained singers. In my opinion,
the Sunday school choir, trained to read music, and practising
every week, should if possible consist of at least half the school.
I have not found this practicable yet, and therefore am not yet
satisfied. Much can be done by the school officer selecting hymns
which illustrate and enforce the lessons for the day. The children
feel this. A few weeks ago the chapter read from the desk related
to God's call to the child Samuel. This was followed by a hymn
having not the slightest connection with the subject. A little girl
said to me afterwards with an air of disappointinent, 'Oh, Mr. -
I thought we should have had · Hushed was the evening hymn!'”
« The superintendent or leader should constantly draw attention
to the nature of the hymn-Praise, Prayer, or Confession-point out
its beauty, tender feeling, and grandeur. Suitable expression and
increased devotional feeling will be the result.”
“When a hymn or piece has been well sung, encouragement and
commendation should be given. The expressive rendering of a new
piece by the leader alone has a good effect.”
« I think the object aimed at by music in the Sabbath school is
often missed by the perfunctory manner in which it is performed.
The great points are those suggested by your questions, How does
TO
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185
the leader go to work ?'. Are the hymns studied and explained ?'
• Are addresses founded upon them ?'".
“More praise hymns are required, suitable to the capacity of
children. A larger supply of narrative hymns is also needed.”
“Tonic Sol-fa is now regularly taught in the day school, and I look
for good results from this in time, when the majority of the Sunday
school children have thus been trained, and can sing intelligently
from note."
“Hymns with choruses are valuable because the younger scholars,
and those whose attention it is difficult to secure, learn the choruses
readily, and sing heartily, by degrees learning the whole hymn."
“ If you can suggest any method by which adult male scholars
whose musical education has been neglected can be made to take
have done great service to Sunday schools." [I can only suggest
their joining an elementary Tonic Sol-fa class. The progress of
adults in learning to sing is slower than that of children, but only a
very small proportion are incapable of learning if they are patient,
and persevere].
"I think there is a great want of really good tunes suitable for
children's voices—something between Barnby's tunes and Moody
and Sankey's."
" The scholars should have the tune before them on the same page
with the hymn, and the same hymn should always be sung to the
same tune. Infants should sing more frequently than the older
scholars. After the closing prayer a lively dismissal hymn sbould be
sung while the scholars pass from their classes into the street.”
“I have found that impressions have been made upon the children
by hymns, which could not have been reached by the ordinary methods
of teaching. In several instances of conversion which have come
under my notice, the hymns of the Sabbath school have had a
prominent place in bringing about a change of heart."
“I frequently adopt the plan of making the boys and girls sing
alternate verses. It gives variety and interest to the hymns.”
“ The majority of Sunday school hymns are mere twaddle ; bad in
sentiment, and still worse in literary expression. Can't you find an
Adelaide Proctor for Sunday schools ? The great mistake is in
writing down to children both words and music. Nearly all children
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STUDIES IN WORSHIP MUSIC.
have a feeling for poetry, and an ear for music. Why should we
debase their tastes in the name of religion ? "
“I should think the best thing to do is to have a singing class
taught by some one interested in the school, and then to select a choir
from the singing class, letting it be considered a favour to get into
the choir. Such a thing is wise in theory, but in our busy life difficult
to carry out.”
“In the warm afternoons of summer time, when the children get
tired and fidgety, the singing of some well-selected hymns, with
observations by teacher or superintendent, would be more profitable
than the usual routine.”
“Pay attention to the pronunciation of words; teach the children
to sing with rhythm and accent, and to seek for the meaning of the
words and their true expression. We take sometimes a beautiful
hyman to teach the power that there is in musical expression to
deepen religious truth. The best we ever had of this sort was o
Jesus, Thou art standing,' where the last four lines of every verse
are the church's answer to the statement of the preacher. The first
four lines of each verse were sung either by girls or by men in unison,
in one case by a solo voice; the last four lines being in harmony of
all the voices. The pathos and tenderness of the personal appeal in
verse 3-
O Jesus, Thou art pleading
In accents sweet and low,
I died for you, my children,
And will ye treat me so ? '
was touchingly expressed by the single voice, and the answer-
O Lord, with shame and sorrow
We open now the door ;
Dear Saviour, enter, enter,
And leave us nevermore !
begun very softly, with a crescendo to the end, put wonderful meaning
into the words. Many who were present at that service will never
forget the sermon that hymn preached.”
"I think it possible to make singing its own preacher, without any
remarks from the desk. But in the present day the children's hearts
are rarely reached by the hymns, because the singing is done care-
lessly.”
“I tried to teach the staff notation through the week, and suc-
ceeded to an extent that surprised many persons of experience. The
THE MUSIC OF SUNDAY SCHOOLS.
187
results were, however, painfully out of keeping with the work
expended. I then tried, though hindered and hampered, the Tonic
Sol-fa, and found that progress was out of proportion to the work.
The Modulator was used, and the accuracy and confidence thus
inspired were gratifying. They convinced prejudice of no small
inveteracy, and silenced more than one sneering critic. I say it is
absolutely necessary that there be a weekly drill on the modulator,
and the Tonic Sol-fa. The better the niusic (within well-defined
limits) the more heartily the children sing it. No labour could
secure a good rendering of jiggy tunes, for the boys shout, and the
girls are scarcely heard."
" I believe it would be helpful if the children were invited now
and then to sing to someone—say their pastor some Sabbath after-
noon. It gives them pleasure to find that someone is listening. Let
them be encouraged to sing the hymns at home to their parents.”
"A practice is held in our schoolroom from 1.30 to 2 p.m. each
Sunday. In most of the schools around here the practice is after
school, from 3.30 to 4, but I find the early practice best.”—Wales.
So much for the replies to my questions, which afford a
vast fund of reflection, and cover the main points of the
subject. The key to progress in Sunday school music lies
in attention being given to the two sources from which it
must always be drawn. These are, musical and
devotional; the children must learn to sing from note,
and, being able to sing, they must be inspired with a
desire to do so.
The state of Sunday school singing in any locality must
always be chiefly dependent on the day school singing
there. Now and then a wave of enthusiastic work may
cause a local advance, but the main force of the tide can
only advance with the day schools. Let the power to
sing from note become general, and we shall have,
potentially, full and harmonious vocal praise in our
Sunday schools.
Potentially, and that only. Let the musical capacity of
the scholars be never so high ; unless they are inclined to
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worship in song they will remain listless or silent. How
is this inclination to be cultivated ? This brings us face
to face with the whole question of sustaining good
singing in our schools.
First, some sort of weekday or Sunday practice of the
most promising scholars is desirable, in order to focus the
musical talent of the school, and lead the rest of the
scholars. The young people attending this practice may
be called the Sunday school choir, but let them sit in
their ordinary class places during the exercises of the
school. A choir seated apart, on a platform or in special
seats, will tend to silence the rest of the school, whereas
a “dispersed choir” such as I have described will
invigorate the voices of all.
Second, let a higher conception of singing as a religious
force in worship prevail amongst the clergy, superin-
tendents, and teachers. The fact revealed in the above
replies that very seldom is an officer of the school set
apart for the honourable post of “praise superintendent,”
shows that we have by no means shaken off the Puritan
suspicion of music as an element of worship. Practically
the hymn is treated as a sanctified form of relaxation
from the sterner work of instruction, prayer, and reading,
rather than as an integral part of worship proper.
Mr. George Merritt, in a paper read at the East London
Auxiliary of the Sunday School Union, says :-
" Each school must select one of its number, who must be
responsible for the singing of the school and for nothing else; that
is to say, that the duties of librarian, infant class teacher, or
distributor of serial literature must not be considered as trifling
adjuncts to his office. He it is who should advise the superintendent
and teachers as to the most suitable tunes for selected hymns, should
encourage soft singing in the school, doggedly prevent the boys
from shouting and forcing their registers, start the tunes and first
lines of verses, and hold the monthly week-night practice for
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189
learning new tunes and correcting errors which may have crept into
old ones. At this practice he should be supported by the
superintendent, and the teachers, and not, as in many cases, find
them conspicuous by their absence. I have known such a song-
leader left to seek the key, open the school, arrange the forms, light
the gas, sing himself hoarse, turn out the gas, lock up the school,
seek out the caretaker, and slowly wend his way home, a wiser, but
a sadder man, wondering whether it is worth while to trouble
himself about the matter any further, or whether the school care if
the singing is good, bad, or indifferent. The song-leader should also
during the winter months start classes for the children and teachers
in the notation of music upon the Tonic Sol-fa method, the school
finding the necessary apparatus, and giving the classes due publicity,
and the children being admitted free upon the purchase of the
necessary instruction book.”
All this would be done, speedily enough, if the
potentiality of song in bending the life Christwards was
fully realised. On this point I quote some eloquent
words from the New Englander, 1849:-
"Besides the benefits in seasons of worship which children enjoy
in common with their parents, the practice of congregational singing
stores the memories of the young with the richest expressions of
devotional feeling. Through singing, religious truth does not come
to them exclusively in abstract propositions, in the mould of which
every other expression of it must be cast before it can be accepted,
but it surrounds and pervades the soul in a thousand living forms,
instinct with the same spiritual life which beat with strong pulsation
in the souls of the psalmists and prophets, and of all who have been
inspired to clothe their holy thoughts in immortal words. Let the
children and youths of our churches live in such influences ; let
religious truth be charmed into their souls by the power of sacred
song, by the strong sympathy that unites all hearts in one tide of
feeling before God; let these be the influences, Sabbath after
Sabbath, until the age of reflection and doubt and recepticism shall
come, as come it must; and we need not fear that they will be
found unprepared for the trial. Divine truth will have become
intwined with so many affections and remembrances that it will not
be rooted out. For ourselves we would rather commit our child to
such influences, in the hope of his having ultimately an abiding
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Christian faith, than obtain for him, if we could, the most elaborate
instruction, in purely doctrinal form, which man could give, or child
receive."
And Mr. Henry Ward Beecher says:-
“ If you analyse your religious emotions. I doubt not you would
trace them back to the early hymns of childhood more than to the
Bible itself. If you consider the source of your thoughts to heaven
I think you will land in Dr. Watts rather than in the revelator St.
John. I think the hymns of Dr. Watts and Charles Wesley, in
which they describe heaven, its occupants, its glowing joys, its zeal
and rapture have more to do with forming men's ideas of the
promised land than any other literature, not even excepting the
Bible itself. The hymn is the system of theology which has been
most in vogue among the common people.”
Surely these passages must stir within us, a desire to
give singing a higher place in worship than it at present
has.
In giving it this higher place we must treat the words
as of co-equal importance with the tune. This is not
done at present, hymns are often taken for the sake of
their pretty tunes, without regard to the suitability of the
words to children or to present circumstances. Several
correspondents, quoted above, have tried to fix the
characteristics of a child's hymn, in some cases with
admirable success. A child's hymn should contain such
sentiments as a child can honestly and heartily utter, the
metaphor should not be involved or violent, and the
words should be arranged as nearly as possible in the
order of common speech. An excess of military meta-
phor is bad. Such a verse as-
"On to the field, let us on to the field,
Fearless and faithful, lead on to the field,
We'll die in battle, but never will yield,
Then fearless and faithful, lead on to the field,"
is simply lost upon children; the spiritual meaning being
swamped by the metaphor.
THE MUSIC OF SUNDAY SCHOOLS.
191
Loose and wholesale references to sins awake no
response in the mind of a healthy child :-
I'm a little toiler in the fields of sin,
Jesus bids me labour, precious souls to win.
Here not only is it undesirable to tell a child that the
world around him is a field of sin, but the phrase to "win
souls” is scarcely one to be carelessly thrown before a
child.
Here is a still better example of how not to do it:-
SCHOLAR.—I'm but a little child, mamma,
How many sins have I ?
Can I remember all my sins,
And count them if I try?
TEACHER.-- When you can count the stars, my child,
And count the leaves that die,
All scattered o'er the autumn fields
Beneath the autumn sky.
CHORUS.--Lord, pity me, a little child,
And teach me how to pray,
And though I cannot count my sing,
Lord, take them all away.
This is simple and straightforward enough, but what folly
to put into the pure young voices of children the regrets
and contrition of middle age ?
The hortatory style:-
Do no sinful action,
Speak no angry word
generally fails to interest children. Subjective hymns, a
sort of stock-taking of sins and shortcomings, are
unnatural and unprofitable to children. Hymns of prayer,
praise, and Scripture narrative are probably the most
fruitful for their worship.
A great deal more needs to be done in explaining to the
children, either collectively or in their classes, the hymn
or hymns which are about to be sung. Let an address be
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STUDIES IN WORSHIP MUSIC.
sometimes founded on a hymn, drawing out, by rapid
questioning, the meaning of its metaphor and allusions,
warming the children's interest in it by anecdote and
appeal. Let the school then rise and sing it, and they
will show a heartiness and feeling which will be most
impressive.
Few of us are able to put ourselves in a child's place, to
share his mind, to tell to what extent the words and
phrases of the hymns awake definite ideas. But the more
we try to sympathise with a child, the more we shall see
how much explanation is needed to send even the simplest
hymn home to his heart in every line and phrase.
Metaphor is so interwoven with our spiritual vocabulary
that as we use such words as “weak," "pure," as we ask
the Saviour to “come” to us, to “take us in His fold,”
to “lay His gentle hands” upon us, or His love to
"beam upon” us, as we row to “serve” Him, we
forget that we are using figures of speech, which need
explanation. Nor have we any conception how small is
understands. These are the words which occur in his
daily life; the names of common objects, animals, and
people, with a few verbs to actuate them. Of the
enormous supply of abstract words, of our common idioms
of speech, he knows really nothing; he will read and
repeat them, but they are as " sounding brass or tinkling
cymbal.” We can never hope for intelligent worship in
song,--singing which fructifies the life, until more is done
to bring the hymns down to the understandings of the
children.
Expression is the natural outcome of feeling; mono-
tonous singing the natural outcome of listlessness. The
leader may control the expression by motion of hand; it
may be suggested on the printed page, or guided by the
THE MUSIC OF SUNDAY SCHOOLS.
193
thoughts, change Prayer, re
s and spression. Staniser de.
touch of harmoniumist or organist, but it must originate
in the hearts of the children, stirred by such means as I
have described. Only the general changes of mood in a
hymn should be accompanied by change of force. Avoid
attempts to express words or short clauses. Consider the
attitude of the worshipper-prayer, reflection, praise, &c.
When this changes, change the expression. Sometimes
a larger thought contradicts and covers a smaller; we
may for example, sing of death loudly and triumphantly
in certain connections.
Sunday School Unions can do much to advance Sunday
school music. They can form in each town or district a
central choir which by occasional concerts will awaken
public interest in Sunday school singing and improve the
musical skill of the scholars engaged. In large towns
they can form classes for conductors and leaders of Sunday
school music. This has been done by the Glasgow
Sabbath School Union, with much profit to all concerned.
A course of lessons was given by an experienced teacher,
in the art of teaching singing, with suggestions on
accompaniment, expression, &c. There is room for
peripatetic teachers of this kind, men of unquestioned
talent, holding short courses of lessons in one town after
another.
A travelling inspector of singing, attached to each
Union, would be a useful officer. Armed with no
authority but that which his experience and judgment
would give him; persuasive and wise; he might privately
offer to superintendent and leader suggestions of utmost
value. The inspector would, of course, only visit schools
which applied for his advice.
Unions may also promote the competitions between
Sunday school choirs, referred to above. These compe-
titions stir up interest, and make scholars work. Care
that whicheful officer. attached to
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STUDIES IN WORSHIP MUSIC.
should be taken, when they are held, that choirs of senior
scholars do not compete against choirs of children, as
comparison under these circumstances is unfair. There
should be a separate prize for junior and for senior choirs.
The closer the connection between the church and the
Sunday school, the better will it be for both. If the
same organist serves for the two, and to a large extent the
same choir, the results will be excellent. The Church
choir will be constantly fed, and mutual reaction will
stimulate both services. When the children attend the
Church service and sit together, they may occasionally be
allowed to sing a hymn while the congregation, with open
books, silently follow. Or the children may take
alternate verses with the congregation, both uniting at
the last.
It has already been urged that only as the scholars
gain the power of reading music can Sunday school
singing become general. As this power comes—and
through the day schools it is coming fast—there will
come the necessity of providing them not only with the
words but with the music of whatever they sing. The
Wesleyan Sunday School Union has taken the lead in
providing a hymn and tune book in one for its Sunday
schools, and other bodies will no doubt follow. An
singing the day
of providing
piece upon large charts capable of being seen across a
school-room. The plan of providing hymn and tune
books and making them, like the Bibles, the property of
the school, is a very good one, and invites the active
attention of all.
The practice of instruments, especially of the violin, is
spreading so fast, that in a few years it will no doubt be
common for bands to be attached to Sunday schools and to
join in accompanying the voices at Festivals. The
THE MUSIC OF SUNDAY SCHOOLS.
195
Harmonium has at present almost the monopoly for
ordinary purposes of Sunday school accompaniment,
though the pianoforte, as has been shown above, is much
better suited to the purpose of enforcing accent and
rhythm. On this point Mr. George Merritt, in the paper
already quoted, says :-
“ Careful observation has convinced me that in many of our
schools the introduction of harmoniums has done more to drive out
hearty, united song than all other causes put together. Introduced
into our schools with the avowed object of improving the singing,
they have in many cases destroyed all independence, all spontaniety,
all freshness and accent. They have led where they should have
supported—they have covered up errors which would otherwise have
been made apparent, and therefore corrected—and they have
developed in the children a feeling of timidity and irresolution
which has often been fatal to a natural vigorous song. How
often have I come away from a service saddened by the
fact that it has been rendered listless, flat, and unpalatable
merely from the fact that the accompanying instrument has doggedly
refused to let the children have their heads, and sing with the
freshness and naturalness appropriate to the hymn. Again, there
are players to whom no Sunday school could sing without flattening;
players who, for convenience of fingering or for a preference for
certain keys, change the key of the tune without the slightest
consideration of the compass of the voices; players who so smother
up the melody by octave basses, knee swells, and all stops drawn,
that I have repeatedly heard children in little-known tunes singing
the bass instead of the melody. Where there are such players as
these my advice to the superintendent is to lock the instrument up,
no matter whether the player is the minister's daughter or the
deacon's son. To have such an obstruction to the song of the school
is nothing short of sacrilege, and no surer method of destroying the
love of song in the hearts of the children could be possibly devised."
In America a cornet (with an American organ) is very
much used in Sunday schools, and for leading a large
body of voices its bright, penetrating tone, and its
capacity (in the hands of a good and reverent player) for
accent and expression, make it a very useful instrument.
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STUDIES IN WORSHIP MUSIC.
The sound of stringed instruments is, however, the most
congenial to human voices.
Most Sunday schools seek to direct the week day
recreation of the children, turning it into harmless and
refining channels, and the practice of instrumental music
is pre-eminent among popular diversions. In some cases
Sunday School Bands have already been formed, and I am
glad to be able to present the experience of two able
bandmasters in this direction.
Mr. G. F. Wates, writing of a band at Creek Street
Sunday School, Deptford, says :-
« The difficulty that presented itself was—what boys should be
admitted to the band ? When the project was first mooted in the
school, we had no doubt but that nearly all the lads would apply to
be allowed to join, and that the majority of them would in a short
time get tired of it, or become discouraged at the obstacles they
would meet with, and soon drop out of the band altogether.
Another question cropped up at this stage—was it advisable to put
instruments into the boys' hands at once? This we answered in the
negative, being convinced that it was of little use trying to teach a
lad to play an instrument unless he had some slight knowledge of
the rudiments of music. We found, too, that in settling this point
we were in a fair settle the preceding one, and thus we felt our way
to the following plan :-
On a Sunday afternoon it was announced in the school that we
intended forming a band, and that all lads, over thirteen years of
age, who wished to join were to meet the bandmaster on a certain
week evening. When the time came, about fifty lads presented
themselves, and we explained to them that they were not to have
the instruments at once, but that, in order to discover who amongst
them were persevering, well-behaved, and regular in attendance,
they would for two or three months be taught the elements of time
and tune, and would not handle the instruments until the band-
master was satisfied of their general fitness for membership. This
had the desired effect. Gradually the weak-kneed ones left the class,
the badly-behaved were dismissed, and in about three months we
were reduced to a little over twenty members, but most of these, like
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197
the remnant of Gideon's army, could be depended upon, having
stood the ordeal that we imposed upon them.
Now came the important question, "What kind of instruments
should we purchase, and how many?' We decided to purchase
cornets, euphoniums, and baritones, all in the key of B5, and thus,
the fingering being the same in all, the bandmaster was able to teach
them together in class. As our first instalment we only procured,
one instrument for every two lads, it being too trying a task for one
new to the work, to be blowing an instrument continuously during
the whole of the lesson. So one lad would be blowing while the
other would be learning by listening to the instructions given, and
watching his companion. After about ten minutes they would
change places, and this would continue until the end of the lesson.
After a few weeks the blowing and fingering of simple passages was
mastered, and the remainder of the instruments purchased.
The band now began to practise some very simple pieces of music
in three parts, as it was thought better to have thin harmony
correctly and tunefully played, than to proceed at once to four-part
harmony, which would have been very troublesome for them to learn
at this early period, and would not have produced such good results,
proportionately to the time occupied in mastering it.
We were now fairly started. On the following Easter Monday,
about four months after the first purchase of instruments, we gavo
our opening concert. Since then the band has increased to double
its former size, and has played many times in public. Other parts
and other instruments have been added since, giving a richer and
fuller tone to the harmony of the band.
One question remains, and that the most important of all,
Granting that a brass band is a practicable thing for many schools,
are its moral effects such as render it a desirable thing?' In answer
to this question I will merely state a few of the effects that can, in
my opinion, be reasonably expected from a work of this kind. It
quickens intelligence; brings out latent talent; engenders habits of
discipline, attention, perseverance, social harmony; encourages self-
respect and esprit de corps; gives occupation and thus keeps out of
mischief; is a link from Sunday to Sunday ; keeps growing lads at
the school; leads them to think of it as our school; and brings
teachers and scholars nearer together in feelings of mutual confidence.
Our band practices at Creek Street have always been brought to a
close by prayer from one of the teachers, and nothing incongruous
198
STUDIES IN WORSHIP MUSIC.
has ever been felt in it; on the contrary, we have ever esteemed it
Mr. J. P. Sinclair, writing about a Sunday School Drum
and Fife Band which he organised in connection with his
Sunday school, says :-
"Despite the somewhat noisy demonstration sometimes occasioned
they are deservedly popular. In the first place, they create an im-
petus amongst the boys to gain the proficiency necessary to enable
them to join; secondly, I beg leave to consider these bands as a
powerful agent for retaining our elder lads in connection with the
school; and thirdly, the band, if well managed, is a valuable adjunct
to the school itself, for entertainments, excursions, Band of Hope,
festivals, &c.
In my own school (Mission) a band was started eight years ago,
and is as popular as ever, although several of the lads have now
developed into young men. The bass drum was purchased through
the generosity of a neighbouring tradesman, who presented the
committee with £4 for the purpose. The band is under the con-
ductorship of Mr. Fletcher, who is a musical instrument dealer and
teacher at 168, Brick Lane, E., and who is also the bandmaster of
the Adelphi Drum and Fife Band. I should have great confidence
in recommending him to anyone intending to start a similar band.
The boys pay an entrance fee of 6d. to one of our teachers (who
acts as superintendent) on joining, and 2d. per week for instruction.
Out of the proceeds a quarterly social tea of the members is held.
The drums, flutes, triangle, and cymbals in our case were purchased
of Mr. Fletcher by easy instalments, through the superintendent.
Practice evening is on Fridays from 8.30 to 10 at Vincent Street
Mission, Old Street, near City Road, and a march out takes place
once a month.
We do not as yet appear in uniform, except as regards band caps,
entirely altered in appearance, to secure immunity from attack.
Black and silver or gold braid is about the neatest colour to choose.
We took part in the Sunday School Centenary celebration, and
have assisted at all the Hackney Band of Hope Union meetings in
Victoria Park, and the Sunday School Festivals annually held at the
THE MUSIC OF SUNDAY SCHOOLS.
199
Crystal Palace in June. We have always been well received on all
sides. At ourannual excursion the band has always been an attraction,
especially on the march from the station to the rendezvous. The
knowledge of the band being advertised to accompany has greatly
enhanced the sale of tickets. Some people fear that it is a great
temptation to band boys to enlist in the army, but although several
have joined the bands of the militia and volunteers, we have not had
a single instance of the recruiting sergeant gaining any. The fact
is, although the lads are not too old to join the ranks, they are too
old to join the drums of any regiment in the British service. On
this score, therefore, all doubts may be set at rest. Try a band; you
will find a vast amount of latent enthusiasm spring up, and you will
have the satisfaction of knowing that the boys are being kept in
hand, disciplined, and taught to take a deep interest in assisting, by
performance and in various other ways, institutions of a deserving
character.
As to rules. They should be simple and few. Strict attention
and obedience to the bandmaster, and steady and punctual attend-
ance at the rehearsals, are the most important."
It does not appear that these bands have been utilised
to accompany the singing, but the brass bands, at anyrate,
might be well employed at anniversaries, festivals held in
church, &c.
Responses, spoken or sung, tend to keep alive the attention
of children. Speech, not silent aspiration, is the natural
expression of desire. Adults may learn to follow in
silence extempore prayers, but children need the frequent
response of the lips to help them. I was talking the
other day with an intelligent child of seven years, who
attended, occasionally, a Congregational Church where
there were no responses. I asked her what people went
to church for. She couldn't tell me. I said « They go
to thank God for taking care of them through the week,
to say they are sorry if they have been angry or selfish or
told lies, to ask God to keep them and all their friends,
and to make them kinder and better and more useful to
200
STUDIES IN WORSHIP MUSIC.
everybody." Her reply was remarkable: “When do
they do all that! When I go to church I only see the
people sitting and looking at the minister !” To the mind
of this child the offering of praise, prayer, confession,
aspiration necessarily involved speech.
The one thing to be avoided in children's services is
monotony. Adults can keep their attention much more
readily in a fixed and stereotyped service than can chil-
dren. Anything that, while preserving the devotional
spirit, affords change, should be welcomed in Sunday
schools. The American Sunday schools are provided with.
an endless variety of responsive services upon all subjects.
They consist for the most part of conversations between
the superintendent and the school; the superintendent
asking a question, the school replying with united voice
in some scripture quotation. Sometimes there are reci-
tations by single voices. Appropriate hymns are inter-
spersed. This leads us into the question of the general
conduct of the Sunday school service, but we are within
our bounds, because whatever vitalises part of the service
vitalises the whole.
I append some contrivances, taken from American books,
which have the merit of novelty at least. Some of these
contrivances will excite the opposition of English readers,
because we have not yet admitted action or even the
suggestion of dramatic personation in connection with
sacred things. How far such representation is expedient,
readers must judge for themselves :-
Take up a subject, such as the Birth of our Saviour. Superinten-
dent asks question upon it, which is answered in the words of a text
by one voice, and then follows one verse of the hymn, applying the
text to our lives. One tune throughout; 5 or 6 questions, answers
and verses.
Other subjects similarly treated—the children of the Bible, &c.
THE MUSIC OF SUNDAY SCHOOLS.
201
The Spirit Tree. Eight verses to the song, each describing one
fruit of the Spirit-Love, Joy, Peace, Long-suffering, Goodness,
Faith, Meekness, Temperance. A little tree: on platform, a card
bearing the name of the fruit, hung on it as each verse ends.
Hymn about Naaman, verses so contrived as to introduce a text
from the Bible story of him between each verse (recited).
Feed my Lambs. Eleven little girls on platform with card or
shield hung on breast, each sings a verse, turning round the card and
displaying a letter as she finishes, F, E, E, D, &c. In this style
Fourth among the list of letters
Stands the one you ask of me,
So I think 'twill not surprise you
When I show the letter D.
Childhood of Jesus. A song with six 8-line verses, each preceded
by four lines of alternate question and answer, sung by single
voices. Then follows the verse, dealing with the subject.
What did Jesus say? A song of 13 verses, Jesus at the temple, at
Jordan, at well of Jacob, on the Sea of Galilee, &c., each ending
"what did Jesus say," then follows a text, recited.
Love one another. Boys and girls come on to platform with
banners bearing such mottoes as “ Love one another," "Be strong,"
“ Follow me," “ Believe," and singing a song exhorting to these
things.
Sacred Pictures. Bethlehem, Nazareth, Capernaum, Cana of
Galilee, Jacob's well, &c. A verse is sung about each, followed by a
text describing it, recited.
Sacred Action Song. Imitate falling of snow by falling hands, rain
by quicker falling, arch of rainbow by circling hands over head, a
recitation before each verse, such as “I do set my bow in the cloud,"
and then a verse sung about it. (This for the infant class).
No Cross, no Crown. As many pupils as there are letters in this
sentence on platform, with cards hung by neck, which they turn one
by one as they sing-
Our Jesus left His royal home,
He bore the heavy cross alone,
His true disciple I would be
And for Him turn the letter C.
The Children's Temple. The erection of a children's temple may
form a very pleasing and instructive exercise in connection with the
202
STUDIES IN WORSHIP MUSIC.
Sabbath School Concert. The miniature temple is built of nine
blocks, suitably inscribed, viz:-Foundation block, Jesus Christ.
Six Pillars, Faith, Virtue, Knowledge, Temperance, Patience, Godliness
(so arranged in sets of three as to leave an aperture in the centre for
the door). Capstone block, Brotherly-Icindness. Gable roofing,
The following passages of Scripture, or other selections, are to be
recited by the pupils building the Temple, as each block is laid in its
place. Foundation, 1 Cor. ii. 11. 1st Pillar, Eph. ii. 8. 2nd Pillar,
2 Peter i. 3. 3rd Pillar, Phil. i. 9. 4th Pillar, Gal. v. 22, 23.
5th Pillar, Jas. i. 4. 6th Pillar, 1 Tim. iv. 8. Capstone, 1 Thes. iv. 9.
Gable roof, Col. iii. 14. The addition of a door, with the following
selection, John x. 9, completes the edifice. While building, or after,
the children sing a chorus including the words-
Each child can God's own temple build
Each heart his altar rear,
If but that childish heart be filled
With holy love and fear.
Looking for Jesus. Each verse of the song pictures Jesus at
Bethany, Nazareth, &c. A recitation between each.
Nearer to Thee. The well-known hymn with a text (recited)
between each verse, bearing upon it.
The Water of Life. Recitations on thirst and its satisfying, each
class stands in turn and recites a text in response to the question of
the superintendent. Singing here and there of appropriate songs.
Ten Commandments. Superintendent asks what is the 1st (2nd, &c.)
commandment. Each class recites in turn and then all sing one
verse bearing on the commandment just heard.
Doices of the Flowers. Each verse of the song describes a flower,
after each verse a text is recited bearing upon that flower.
Recitation of the Psalms. Verse by verse, by the scholars and
superintendent alternately, or in turn by superintendent, secretary,
teachers, scholars, each standing to speak.
A short Choral Service. For opening or close of school, superin-
tendent taking "priest's” part, and school responding.
Twenty-six Services for opening school, consisting of (1) a few verses
hortatory read by superintendent, (2) hymn sung, (3) Scripture lesson
read, (6) hymn. Each service has a subject, and keeps to it. Special
THE MUSIC OF SUNDAY SCHOOLS.
203
services for opening a new school, Christmas, New Year, Easter Day,
Fourth of July, Anniversary of a school, Excursion or open-air
service, death of teacher, death of scholar.
The Star of Bethlehem. Here is a specimen of dramatisation
which comes perilously near the ridiculous. I copy the passage from
the stage directions in a cantata representing the birth of Christ:-
“A good representation of a star can be made by taking a square or
round box of tin, and cutting a hole in one side, the shape of a star.
Paste tissue paper over the hole and place a light inside.”
I close with some pointed and sensible remarks on
Sunday School Singing, taken from an American book :-
“ The spirit and success of a Sunday-school depend very largely
upon the manner and spirit in which its singing is conducted; and
again, the manner of the singing depends chiefly upon the spirit of
it. How to get the true spirit of singing is the problem.
1. It is hard to catch this spirit when the atmosphere of the
school-room is close, hot, and heavy. Such air smothers the genius
of song. Pure air for good music!
2. If from any other cause, known or unknown, the school is out
of tune on any given day, and, as is sometimes the case, the pre-
vailing spirit is averse to song, you may quicken it by well-timed
remarks, a well-told story, or by a solo or duet well rendered. If
these fail, abandon the attempt for that day.
3. When the singing is to be done, however, see that all are ready
before you begin. Let the leader be ready. Let the organist be
ready. Let the books be in the hands of the school. Let all other
services be suspended. One thing at a time in Sunday-school.
4. Have perfect silence before you begin. Call for it and secure
it. Wait until you have it. Let it be worshipful silence, not
enforced by disciplinary drill-signals alone, but by the purpose and
spirit of devotion ; singing is worship. Impress the school with this
fact, and seek to beget in them the same rererential mood and order
which you so easily command when the school engages in prayer.
5. Now for the sentiment of the song or hymn. If it has no
sentiment it is not worth singing. If it has bring it out by an
emphatic reading, and by illustrative and practical remarks—all of
which should be of the tersest and briefest character. Long com-
ments on a verse to be sung are ill-timed and injurious. Call the
204
STUDIES IN WORSHIP MUSIC.
attention of the school to the thought embodied in the verse. This
will be enough.
6. Occasionally (and especially if the hymn be new to the school)
lot all read it in concert before they attempt to sing it.
7. The organist may now play the air (if the piece be new),
avoiding all“ variations'—the organ-follies, fixings, and furbelows—
which in Sunday-school are so provoking to people of good sense and
true taste. Give them the plain tune.
8. A new song should be sung over by the leader so that the school
may hear it. Let him say, "Now I will sing this first line or first
verse three times before you join with me. Give close attention. See
how many of you will then be able to accompany me.'
9. See that all commence at once on the very first syllable, at the
same instant-heartily and distinctly. Don't even finish the first
line until this is secured. Be firm and good-humoured about this
and the school will readily fall in with your plan.
10. Don't scold those who won't sing. Scolding doesn't pay. It
never made a horse drink, a bird sing, or a child good-natured.
Don't notice the mouths that are shut. Commend the singing that
is done, and the affectionate spirit of the leader will unite with the
sentiment of the hymn to warm all hearts into voiceful sympathy.
11. Know when to stop. Don't keep the school too long on one
piece, and don't devote too much of the Sunday-school session to
music.
12. Use frequently the good old hymns, and train the scholars to
sing them with a will. “Duke Street' may be sung in a doleful,
dying way, or it may be sung till every heart is thrilled with the
spirit of praise. So of the · Portuguese Hymn,' Nearer, my God,
to Thee,' Coronation,' · Rock of Ages,' &c., &c., Teach your
Sunday-schools the hymns of the Church.
13. Hold special · Praise meetings,' or · Services of Song,' during
the week. Invite old and young to attend. Then make every such
service a means of grace.
205
STUDIES IN WORSHIP MUSIC,
FIRST SERIES.
:0:-
OPINIONS OF THE PRESS.
It is very appropriate that Mr. Spencer Curwen's volume of “Studies”
should be inscribed to the memory of his father, whose work he is endeavour-
ing to carry on. The historical portion shows a considerable amount of
research. Not only have many printed books and pamphlets been consulted,
but the author has had access to various minute books of churches, from which
many interesting particulars, especially with regard to nonconforming denomi-
nations, have been gleaned. This first section of Mr. Curren's book may be
commended without reserve. Opinions will probably differ more with regard
to the views expressed in the second part of the work. For ourselves we may
say at once that we find in it far more to approve than to blame. Mr. Curwen
is himself, like this section of his work, " practical," and most of his
suggestions commend themselves at once to the good sense of his readers. The
remarks on organ voluntaries as well as on accompaniment, are mostly very
judicious, and the suggestions to those about to purchase an organ are good
and to the point. With Mr. Curwen's remarks on “the style of harmony
proper for congregational music” we fully agree. In the chapters on "The
training of boys' voices," and " How to train a congregation," it is pleasant
to be able to agree with him again. The third part of the volume gives an
account of the services at several of the principal churches and chapels in
London. We can recommend Mr. Curwen's book as a readable, and in many
respects, useful contribution to the literature of his subject.-dthendum.
A good deal of interesting information has been here got together, which
those who are interested in the subject would do well to study. Psalm-singing,
it is needless to say, is a practice imported into England from the Continent at
the time of the Reformation. After giving a brief history of its several stages
of development Mr. Curwen dwells in separate chapters on the style of
psalmody peculiar to several religious bodies in the United Kingdom. The
author, who displays a thorough acquaintance with his subject, alludes to the
late Mr. Alfred Stone of Bristol, as the best accompanist of Church Psalmody
he had ever known. Chapters on the training of boys' voices and on the train-
ing of a congregation contain many useful practical hints. ---Pall Mall Gazette.
There is a great quantity of interesting matter collected to form these studies.
and under the several heads-historical, practical, and descriptive--much that
is readable, and possibly new to many, is brought together. There are some
sensible remarks on chanting, some readable notes on the rhythm and notation
of hymn-tunes, and the arguments for congregational singing, fairly stated,
fill up the greater part of the book. There are many amusing anecdotes told
which musical readers will enjoy, and there is much that is described that is
both valuable and interesting. Of the book, as a whole, it may be said that it
is a record of the past, a chronicle of the present, and a valuable means of
reference for the future to those interested in the arguments for and against
congregational singing.-Monthly Musical Record.

206
OPINIONS OF THE PRESS.
To our mind the most valuable part of the book is the third. The descrip-
tions have the air of accuracy as well as vividness, and Mr. Curwen generally
contrives not only to let us know what he thinks, but also what the persons on
whom he passes judgment have to say for themselves. We may perhaps
return to Mr. Curwen's book on a future occasion.--Orchestra. .
The author has brought together a great deal of information, and given
many suggestions. Methodism, of course, has a full share in the book, which
is worthy of the attention of ministers, choirmasters, organists, and those who
desire to improve congregational singing. Some of the opinions and sug-
gestions presented would do good if they were generally proclaimed from the
pulpits of the land. This book ought to improve congregational singing.–The
Methodist.
The most valuable section of Mr. Curwen's book is the first, or historical
portion, which shows the result of a great deal of patient research, and which
forms a succinct, but tolerably comprehensive history of congregational sing-
ing in the English Church since the Reformation. Mr. Curwen's work shows
a wide and intimate knowledge of the matters of which the author treats, and
it is a highly interesting, and as to the great part of it, a most valuable book.
—Music Trades Review.
From the pen of Mr. J. Spencer Curwen, who has some title to speak with
authority on the subject. All who are interested in psalmody should read this
book.--Fountain.
We know of no book that covers the ground that is so well occupied by this
interesting series of papers. In one or other of the three sections of the book
there is something to attract the attention of all.-Christian.
All who are interested in the subject of congregational singing should read
this book. Mr. Curwen is a thorough musician, and he brings to bear upon
the task he has taken in hand the true devotional spirit which enables him to
estimate minor points at their true value. The volume is published in a cheap
form, and deserves to be widely circulated.-The Rock.
Mr. Spencer Curwen's book on Worship Music is a model of its kind. Mr.
Curwen brings learning and research to bear upon his subject, which he treats
with a breadth and largeness of view which are refreshing, and which prove
that the leaders of the Tonic Sol-fa movement, while they know how to
advocate their own tenets, care far more for the progre ss of music than for
any special mode of teaching it.-Musical Standard.
This book is a most interesting examination of the whole subject of con-
gregational music. The treatment is anecdotal, controversial, technical,
popular, practical and suggestive, having, in fact, most various and opposite
merits, and the book is always lively and readable, while imparting to those
specially interested most valuable information and guidance. - Liverpool Daily
Post.
As far as it is a record of actual facts, the book possesses considerable value,
and some of Mr. Curwen's critical observations are also well worth attention,
for his musical cultivation is indisputable, and the subject is one to which he
has devoted special attention. It is doing him no more than justice to say that
persons interested in congregational singing will find many valuable hints in
the book, and that its fundamental principles are esthetically sound.-Scotsman.
This book, by one who inherits a name indissolubly associated with the
religious aspect of music, consists of researches and reflections that are almost
unique. The descriptions are not mere chat. The author brings to bear on
his subject just the qualifications which the subject demands-exact musical
knowledge, and a sufficient general sympathy with the religious spirit of which
church music is one manifestation Organists and choirmasters will find in
this book many pages more intelligible to them than to the general public, but
the bulk of the book is for readers who take some pleasure in music in general
and psalmody in particular.-Literary World.
The name of Curwen would of itself be enough to call attention to this book.
but those who begin by thinking of the father, to whose memory it is reverently
OPINIONS OF THE PRESS.
207
dedicated, will ere long be interested in the son for his own sake. These
chapters on worship music are both instructive and entertaining. Mr. Curwen
writes con amore, and writes well, and he deals with a subject which is of great
importance.—The Baptist.
Most of the papers here collected together have appeared in musical and
other periodicals, but there is a unity of purpose throughout them all, and
they readily take place as chapters in a consecutive work. Mr. Curwen is an
advocate for congregational singing in the best sense, and the method of which
he is a noted exponent brings such singing within the reach of almost all who
will give it a fair trial. But there is much to be learnt from this volume,
apart from any questions of musical notation, as to the teaching and develop-
ment of church music.-Record.
Mr. Curwen writes with authority on congregational singing, and his treatise
on it will command the respect of all those who are able to appreciate his fine
discrimination in the choice of what music is suitable for the purpose, and how
a pleasing result may be attained. The historical part is not without a sense
of humour. But the real interest to the instructed reader lies in Mr. Curwen's
criticism of the different schools of congregational singing, and on this point
he writes con amore. The chapters on chanting and on the styles of harmony
proper for congregational music are also especially valuable.- Bradford
Observer.
The author of this useful and thoughtful work tells us that portions of it
are reprinted, with additions and modifications, from various reviews,
magazines, and newspapers, but the subjects are 80 logically and carefully
arranged that this will be found no objection by the general reader. We regret
that we cannot quote more extensively from Mr. Curwen's book, but cordially
recommend those interested in the subject to peruse his record of many facts
connected with the early history of psalmody in England, which cannot be too
extensively known to lovers of congregational singing. One great merit of
Mr. Curwen's book is that although he expresses his opinions freely, he is at
least courteous to all who hold different views; and even those who disagree
with him, therefore, will derive much pleasure from the perusal of a work
which is evidently the result both of patient labour and earnest thought.-
Musical Times.
The subject of this volume is of considerable interest and importance, and
Mr. Spencer Curwen was just the man to deal with it. We commend Mr.
Curwen's book to all who are interested in the subject of which it treats, and
wish for it the large circulation its merits demand.-The Sword and the
Trowel.
The book is full of useful information, and cannot fail to interest those who
are practically and actively devoted to psalmody.-Catholic Presbyterian.
This is an interesting and instructive collection of papers upon the use of
music in public worship. There are curious illustrations of Changes in the
ideas and styles of singing among different religious communities since the
Reformation. Judicious suggestions are made about the proper use of the
organ, the kind of tunes suited for congregational singing, and training in the
practice of psalmody. These are followed by descriptions of the “ Service of
Song" in various London churches, with friendly criticisms upon their ex-
cellences and defects. The knowledge and experience of the writer give
weight to his observations about the importance of making the singing
thoroughly congregational, as an element of united worship, and of psalmody
ons for the culture of powers, with a view to this result. Were the
principles advocated in these “ Studies" generally carried out, the service of
praise in all our congregations would be more hearty, harmonious, devout, and
impressive.--Evangelical Magazine,
The work should obtain a widely-extended circulation.-Nonconformist.
The author has collected together much valuable and interesting information
respecting the singing of psalms and hymns in the English Church, and in the
various places of worship of the Methodists, Baptists, and Presbyterians. The
second part of the book contains many excellent hints to organists.- Academy.

208
OPINIONS OF THE PRESS.
The name of Curwen in a publication connected with music is a sufficient
guarantee for its intrinsic worth. We have perused this book with much
pleasure, and been greatly interested in the quaint and curious lore which is
here brought together from many sources quite out of the way of ordinary
readers. We cannot help giving an extract from the chapter on Scottish
Presbyterian Psalmody, which shows at once the spirit of the writer, and his
grasp of the subject with which he deals. The reader will find that though
the book is learned it is not by any means dull. There is much in it that is
amusing, and the whole is most instructive and edifying.- English Presbyterian
Diessenger.
This is a very interesting and entertaining volume, from which many a useful
hint may be taken. The second part of the work has many hints and ideas of
great service to those who have not had the advantage of regular training in
the conduct of divine service. Country clergy especially may derive immense
assistance from its pages. We endorse all that the author says about the
accompaniment of hymns and psalms. It would be difficult to estimate how
many congregations would send their thanks to Mr. Curwen if their respective
organists would follow his wise counsel. Our author's advice on "How to
teach chanting" is invaluable; wherever followed it must lead to greater
that we should like to see it reprinted in the tract form and circulated widely.
There are certain particulars upon which we differ from Mr. Curwen, but in
the main his conclusions are thoroughly sound, and bear equal witness to his
skill and experience. Lastly, having the fear of the profession before our eyes,
we may say that it is not a work likely to encourage amateurs in their priggish-
ness, but will rather lead them to further study, or at least convince them of
their ignorance, both very desirable ends to be attained.-Church Times.
THE UNIVERSITY OF MICHIGAN
Univ. of Mich.
Music Library
DATE DUE
MAR 2 2 1994
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