PURITY IN MUSIC.
STANDARD MUSICAL WORKS.HUNGARIAN Music : a Historical Account of Music in
Hungary, with particulars of its Composers to the
present day. By J. Kaldy, (Director of the RoyalHungarian Opera), 12010, cloth,
INFORMATION FOR PLAYERS, Owners, Dealers andMakers of Bow Instruments. By William Hep-worth, with photographic pictures of Violins byGuarnerius and Stainer, post 8vo, cloth, 2S. 6d.
CHOPIN S GREATER WORKS, (Preludes, Ballads, Nocturnes, Polonaises, Mazurkas), How they should beunderstood. By J. Kleczynski, including Chopin s
Notes for a " Method of Methods," translated by N.
Janotha,with 3 portraits and facsimile, cr. 8vo, cl., 5/-
THE ORGANIST S QUARTERLY JOURNAL of Original
Compositions, (founded by Dr. Spark), 5/- per part,
(Yearly 10/6 post free). New Series, Vols i and 2
bound in cloth, each with 160 large pages, i8/- each.
MENDELSSOHN S ORGAN COMPOSITIONS, Explained and
Analyzed with Music Examples. By J. W. G.
Hathaway, cr. Svo, cloth, 4/6How TO PLAY CHOPIN. The Works of Chopin and
their proper Interpretation. By Kleczynski. Third
Edition, Woodcut and Music Illustrations, cloth, 3/6.
How TO MAKE A VIOLIN. With many Illustrations.
By J. Broadhouse, cloth, 3/6.
MUSICAL DIRECTORY OF GREAT BRITAIN AND IRELAND,
400 pages, paper 2/- (cloth 3/6).
GREAT VIOLINISTS AND GREAT PIANISTS. By J. T.
Ferris. (Viotti, Spohr, Paganini, De Beriot, Ole
Bull, Clementi, Moscheles, Schumann (Robert and
Clara), Chopin, Tbalberg, Gottschalk, Liszt), cloth,
3/6 (bevelled boards, gilt edges, 4/6).
Music AND MUSICIANS, Essays and Criticisms. BvRobert Schumann ;
edited and translated by F. R.
Ritter, cloth, 2 Vols., ig/- (or First Series, Fourth
Edition, 8/6, Second Series, 10/6).
THE HARMONISING OF MELODIES, a Helpful Text-Bookfor Students and Teachers, by H. C. Banister, cl., 2/-
THE ART OF MODULATING : a Series of Papers on Modulating at the Pianoforte, with Sixty-two Musical
Examples, by Henry C. Banister, cr. Svo, cloth, 2/-
MEZZOTINTS IN MODERN Music : Brahms, Tchaikovsky,
Chopin, Richard Strauss, Liszt, and Wagner. ByJames Huneker, cr. Svo, cloth, 6/-
CH )PIN : the Man and his Music. By James Huneker,with portrait, Svo, bevelled cloth, gilt top, 7/6.
Catalogue of Musical Publication on application.
W. REEVES, 83, CHARING GROSS ROAD, LONDDH, W
PURITY IN MUSIC.
A. F. THIBAin\f7772-
TRANSLATED FROM THE GERMAN BY
JOHN BROADHOUSE.AUTHOR OK
THE STUDENT S HELMIIOLTZ,""
VIOLINS, OLD AND NEW," ETC.
LONDON :
\K . REEVES, 83, CHARING CROSS ROAD, W.C
-
PREFACE.
ROBERT SCHUMANN said Thibaut s book was " a fine
work on the Tone-art," and recommends his young
friends to " read it frequently"
;and no apology is
therefore needed for giving English readers a cheap
edition of a book which won the encomiums of
that eminent composer and critic. Only one word
is necessary as to the translation, which I have
tried to put into language which will bring before
English readers the ideas a German would receive on
reading the original. The heading of Chapter VII.,
for Instance, is" Ueber Vielseitigkeit," or, "On
Manysidedness"
;but the latter is an awkward word,
and I think the heading I have adopted gives an
equivalent idea.
Thibaut was a jurist first, and a musician after
wards, but his work on "
Purity in Music "
is that
of a genuine lover of the best things in art. If
vi Preface.
he was devoted to the old composers and neglected
the new, his devotion was of the right sort, and
in these later days (his book was first published in
1825) he may help somewhat to counteract the
prevailing tendency to belaud the new at the expense
of the old.
j.a
October, 1882.
CONTENTS.
PAGE
I. On the Chorale .. .. .. .. .. .. i
II. Church Music other than the Chorale .. , . .. 21
III. Popular Melodies .. .. .. .. .. .. 37
IV. The Educating Influence of Good Models
V. Effect
VII. As to a Liberal Judgment
VIII. On Perversions of Text .
IX. Choral Societies . .
45
5 1
67
79
83
PURITY IN MUSIC.
I.
ON THE CHORALE.
IT was probably never so universally admitted as in
the present day that the foundation of all true know
ledge is, and must be, the study and acquaintancewith the great classics which have been handed downto us by our ancestors. Only thus can such assured
progress be made, when we so profit by the teachingsof others as to gather new strength for the advance
ment of knowledge. The study of the works of the
old masters has also this negative advantage it
convinces emp -y pretenders of their emptiness, and
turns their attention to the calm enjoyment for them
selves and the spreading a knowledge amongst others
of the grand models we have inherited from bygonetimes. Real geniuses, such as Plato, Raphael, anc
Shakespeare, appear but seldom; but they havi
influenced many generations, and their power has
been felt through the ages. Therefore is it a most
sorry conceit for any man, through confidence in
himself, to neglect the study of the great spirits of
Purity in Music.
former days, and thus to say in effect that he is able
to produce what they produced. Amongst the youngerrace of educated men it is a point of honour to studythe classics ; and an aspiring painter would no more
dare to deride the study of Raphael, Michael Angelo,Van Eyck, and Diirer, than would a young poet giveto the world a new Iliad, or King Lear, without first
studying the undying works of Homer and Shake
speare. Thus it is that in poetry, in painting, and in
architecture, we see a freshness and vigour pleasantto behold, though frequently enough a want of power
prevents the mightiest efforts of the will from achievingfull success.
it is only in matters musical that pride, haughtily
disdaining the Past, is the order of the day, althoughall the great masters who formed that Past set us a
far better example. Handel, Hasse, and Graun
ardently sought the opportunity of studying music in
Italy. They did not do what most of our modern
professors do, and by prodigious labour master a few
show pieces under the miserable delusion that goodtaste is to be found, as a rule, in the concert room ;
but while they composed grand works and offered them
to the world for approval, they themselves were
diligent students of all the good music within their
reach, and lost no opportunity of knowing what others
had composed before them. Even John Sebastian
Bach, who was hindered from going abroad for that
purpose, was a most devout student of the works of
others the immortal Venetian, Caldara, attracting his
particular attention. And Mozart, although his geniuswas of such a character as to make him well-nigh
independent of extraneous aid, still regarded the
celebrated works of the old masters, particularly those
Purity in Music.
of Handel and J. S. Bach, with feelings akin to
reverence;and we owe it chiefly to his edition of the
" Messiah "
that Handel s name has lived through an
age of musical shallowness. But now all this has
changed. There is almost a universal confidence in our
own strength, an unlimited number of original manufactures, and for the most part a sneering disregardfor so-called antiquated music. Masters like Antonio
Lotti and Alessandro Scarlatti, at whose shrine
Handel and Hasse were devout worshippers, are to
day to most people unknown, even by name ; and
even the incomparable Handel himself is not, if we
except a few places, regarded with the reverence due
to his inexhaustible genius, which was in many waysunique. And this ignorance of the musical past, and
still worse indifference, are not confined alone to what
we call Church and Oratorio music;
for in operatic
matters general knowledge does not go far behind
to-day. Handel s operas are no longer heard ; and to
speak well of those of Caldara and Lotti is to ensure
certain laughter. So is it with the Fugue. Thingswhich are so-called are produced in thousands year
by year, having the form of the Fugue, but destitute
of its life;but the master-pieces of Scarlatti, which
aroused the wonder of Hasse and Handel, are
scarcely known by one in a thousand of the youngcomposers, organists, and teachers of our day. In
the same way, also, we are deluged daily with songs j
but the study of old national songs, which are often
very charming, and furnish a close view of the.
characters of different peoples, has fallen entirely
into disuse; although, when we remember the force
and vigour of ancient nations, a rich harvest might
surely have been looked for in this field.
u 2
Purity in Music.
Plain enough is the reason of this sad state of
affairs. To understand a Madonna by Raphael, to
be impressed by such a cathedral as that of Cologne,or to become familiar with the great things of
Shakespeare, requires only good eyes and unim
paired faculties, combined with intelligence to someextent cultivated : moreover, failures in architecture,
painting, and poetry, cannot possibly be covered up.
But the great masterpieces of music are like gold
deeply buried, which few are able and willing to bringto the light of day. Many of the finest things lie in
manuscript scores, scattered everywhere. A journeyto Italy does not greatly mend matters without
skilled study; for even there the best compositions (if
we except a number performed in the Sistine Chapel)are hidden away out of sight ; and you may journeyfrom Milan to Naples and not hear a single word about
Vittoria or Lotti. Who, however, has the where
withal to buy these full scores, and how many are there
of our everyday musicians I ask it in all earnest
ness who are able to decipher scores which are in
themselves no child s play, and are withal written in
an ancient notation ? But when that notation is
learnt, and the scores procured, the labour is only at
its commencement. It is necessary, so to speak,to repaint the picture to give it its proper colours
;a
competent body of men must perform with ability and
zeal a work produced by ability and zeal ; and where
shall we find the men who can worthily put on the
harness of the giants of the olden time ? Thus it is
that our so-called virtuosi, as well as our directors and
teachers, fight shy of the old music, and seek in every
way to bring into contempt the innumerable musical
treasures of which we can boast. And this they
Purity in Music.
succeed in doing without difficulty ; for the public, of
whatever degree, has no musical principles of its own,and is compelled to take whatever is offered it. This
being the case, musical professors dominate public
taste by sheer force of finished mechanism. Further
more, there is this dangerous element about music; if
.a limb is badly drawn in a picture, or anything grates
on the moral sense, a healthy eye finds sufficient
grounds for criticism, and turns away (at any rate if
there are lookers-on) for very shame, but in musical
composition there may possibly be hidden all sorts of
impurities and unhealthy and immoral elements ; and
so it comes about that the unwary take in whole
sale wretched stuff which would for honour s sake be
rejected if it w?s the work of the pen or pencil ;and
the composers and performers of to-day have a goodtime of it, because, when they stoop to what is sensa
tional, ill-formed, absurd, and vile, they find, alas ! onlytoo many willing hearers. Frequently the educated
connoisseur, when the words," Oh ! how fine," fall
upon his ear, says nothing, out of mere politeness ;
because, to speak the truth about such an exclamation
would undoubtedly give great offence. The public,
in its turn, when the professors have accustomed its
ears to a common and vulgar style of music, has its
-depraved taste confirmed, and tyrannizes over the
professors, just as the head corrupts the stomach andthe stomach the head, the one aggravating the othei
until there is nothing left but to hope for speedydeath. Plato, in his time, attacked pernicious music
;
but what would he have said had he witnessed the
.gymnastic displays of our time, in which, with six
fingers more, so-called art would vanish in smokeworks utterly contrary to nature, feeble and full of
Purity in Music.
license and passion, and yet seldom rising to the
height of true inspiration ? As a matter of fact, it is
with music as it is with the affairs of everyday life ;
for we do not either here or elsewhere refer to those
exceptions which are happily not wanted;and we
are hardly so well off as we should be with respect to
the Drama, if it were subject to no better influences
than the mere whim or fancy of actors.
But all this cannot be passed over quietly, as.
though it referred to concert rooms and theatres alone..
If matters are too much for us there, we can, at anyrate, stay away, and try to find consolation for our
selves in better things. Into the church, however, the
vices of music ought not to be permitted to enter.
Herchildren are connected with her by moral considera
tions; and, if insteadof religious feelings being fostered
to the utmost, grave scandals arise from the perversion
of what is in itself most noble and most beautiful, the
conduct which brings about such a condition of
things is altogether without excuse. Yet this is done
everywhere, alas ! although in no place could the
choicest of the old music be preserved so well as in
our churches. For if we paid no attention to the
foolish vagaries of fashion we might with confidence
depend upon the public always of their own accord
regarding the works of antiquity as such with the
greatest respect, inasmuch as they clearly see that
those works are well-nigh the only means by which
strength and purity of thought can be retained.
Besides this, there were the most urgent motives for
preserving, pure and unchanged, the original
Chorales of each church ; for, although art may do a
great deal in the way of addition or ornament, it will
ever remain an indubitable fact that tunes which are,.
Purity in Music.
so to speak, the clear, simple, and natural outcome of
an impassioned and strongly moved spirit, have an
indescribable charm of which we never grow weary ;
and, as we see to be the case with many national
songs, they live on always fresh and vigorous in the
memory of a nation unless they be destroyed byinfluences from outside. All the churches had in
their first days a period of glowing enthusiasm which
they can never again experience ;and in those times
of burning religious fervour each church strove its
utmost to further the improvement of its choral
music under the direction of men who were most
intimately acquainted with the ancient church modes.
How is it possible, then, to account for the pride of
modern times, so cold, so weak, and so thoroughly
worldly in the things of religion, seeing that it
exhibits (even in the Church) nothing but its own
works, and carelessly casts aside everything that
would impart joy and delight to the souls of genuineChristians ? And yet this has been done to the greatest
extent where we should have looked for it least, andto the least extent where we might have expected it
the most. This applies particularl} to the Russo-
Greek Church. She alone has remained faithful to
the past with rigid tenacity as far as was possible in
a world of constant change, and has preserved a greatdeal which would in all probability carry us back to
the second or third century. The grandeur of her
old tunes has invariably aroused the admiration of
those best able to judge ; and an anecdote was re
cently current in St. Petersburg to the eftect, that a
celebrated French composer, who visited the imperial
chapel there cried out bitterly on leaving the chapel," Must I then come to St. Petersburg to hear for the
8 Purity in Music.
first time proper church music ?" It is naturally
presumed that after the twelfth century, and par
ticularly since the time of Catherine II., much that is
new has been introduced; although with regard to the
liturgy and the congregational part of the service,
the music continues practically unaltered;and it is
therefore the more to be lamented that no one has
endeavoured to bring it as a whole to the light, for the
study of it would, as I well know from my own
experience, undoubtedly throw much light upon the
ancient Greek modes. The Church of Rome, from its
very nature, was more than all others urged by the
most powerful motives to retain those grand original
tunes known as Ambrosian or Gregorian ;those (so
far as I know them) truly sublime and heavenly songsand intonations which, originated by genius and
improved by art in the youngest and grandest days of
the Church, impress the soul more deeply than manyof our modern compositions which are specially
designed for effect. And yet the Sistine Chapel,
though wonderfully faithful to the masterpieces of
mediaeval times, does not seem to pay the same
regard to these earlier melodies. In any event it is
certain that nowhere in Italy can information be ob
tained respecting the Ambrosian and Gregorian tunes.
In Germany the most that could be got would be a few
quotations from the work of Forkel : and as for the
rest, it appears to be considered the proper thing to
know scarcely anything about them. It could not,
indeed, be otherwise so long as these tunes are
repudiated by those who are in authority. Thecathedral of Cologne would have been a fitting
receptacle in which this magnificent inheritance of
the olden time should have found its home ; yet what
Purity in Music.
do we see ? In the year 1741 appeared at Cologne,
duly sanctioned by the Elector, and belauded by the
censors, that Tune Book which has since been so
extensively used, namely," The New Hymn Book for
Church and Home, sacred to God and the Lamb, for
the Daughter of Sion travelling on the threefold wa}^
of perfection to the heavenly Jerusalem ;"*and yet
even this Hymn Book is full of light and trivial tunes
a statement which would be altogether incredible
if we were not told in the Preface that, in order to
obtain variety, the Editor had secured the services of
many different hands," as most of the tunes in the
old Hymn Book in common use have become corrupt,
or are not of an edifying character." It may be said
without exaggeration that " The Mock Nightingale," a
half-sacred half-romantic book of devotion and amuse
ment, published with music by a Jesuit at Colognein 1649, is with all its romancing a more spiritual book
than this only too renowned Chorale Book.
Going next to the Hymns of the Hussites, the one
thing we find about them to cheer us is, that Luther
used and highly esteemed them, and that they are
even now used to a certain extent though no doubt
modernised in many ways by the Moravian Churches.
Yet these are the tunes which of all others least de
serve oblivion ; for springing from a stock which has
up to the present time distinguished itself everywhere
by great musical powers the outpourings of an
intensely fervent spirit under tyranny and persecutionthe chorales of the Hussites carry the marks of
* " Neues Gott und dem Lamm geheiligtes Kirchen-und Haus-
Gesang der auf dreifachen Wegeder Volkommenheit nach dem himm-tischen Jerusalem wandemden Tochter Sion."
io Purity in Music.
spiritual power, humble resignation, and moral
nobility, that can hardly be equalled elsewhere.
And yet the Protestants have entirely forgottenthem ;
and their forgetfulness and neglect are the
more unpardonable, seeing that this very Hussite
Hymn Book was, according to tradition, considered
so dangerous by the Jesuits that they bought and
burnt the whole edition except a few copies, one of
which has fortunately come into rny own hands.
This would have furnished an excellent motive for en
couraging the proscribed book, by the issue of a newand large edition. But no one thought of so doingtill just lately, while in the interval, the most trashy
things were being published as though they were
treasures which it was a necessity that every one
should possess.
What Luther did for the chorale how, so to speak,his ardour for sacred music consumed him like a fire,
how he sang with his choir-boys far into the night,
how, as Walter, who was an eye-witness, describes,
it seemed impossible that we could tire or grow wearyof singing, and how the fire appeared to be kindled
ever more and more in his soul all this everybodyknows. Many excellent remarks of Luther s are
matter of common conversation. Notwithstandingall this, the music in the churches founded by him
rapidly deteriorated.
In 1628 appeared the Chorale Book of the eminent
Heinrich Schiitz ;a book which was in many ways
suited to the newly-acquired taste. The Preface to
that book states that it was necessary to make allow
ances for the spirit of the age, but Schiitz adds with
some compunction,"
I must confess, however, that
I think some of the old tunes were the creation of
Purity in Music. 1 t
celestial seraphims rather than of men." Everyonewho is acquainted with music knows how these melo
dies have latterly been translated into modern scales,
and overloaded with sudden changes and modulations.
John Sebastian Bach, before whose grandeur we are
all willing to bow when he shows himself to us in
perfect simplicity, might, without doubt, have proveda true saviour. He, however, was more inclined to
bring his art to perfection by the cultivation of florid
part-writing, and of soaring to its greatest heightswithout any reference to the requirements of ordinary
people, as, indeed, many great masters since himhave done. His four-part chorales therefore, incom
parable as they are in themselves, must be regardedas unprofitable with respect to most organists and the
general public. Indeed, so long as the people were
contented to remain in utter ignorancs of the old
Church tones, no real remedy for the evil was possible,
for the theoretical works on the subject then in exis
tence threw but little light on the matter. It mayindeed be stated that a thorough search ought to have
been made for old authorities which might have con
veyed to intelligent men the needed information ; but
difficult labours of this kind were not by any means
acceptable suggestions. And yet what depths there
were to be explored ! Palestrina, the most celebrated
composer of the Church school, following reliable
traditions, with endless ingenuity set the Magnificat
eight different times to the eight Church tones for
four voices. Any person might have obtained these
treasures for himself, but they had been allowed to
remain buried in utter oblivion ; and Busby, in his"
History of Music," has placed another large stone
upon the tomb which contains them, by telling the
12 Purity in Music.
world that " Palestrina composed a Magnificat for
eight voices."
Further, if we look at Calvinistic tunes we shall see
that they also have suffered their share of alterations.
Calvin had the Psalms translated into French verse,
and the melodies to them arranged in entire consist
ence with the old Church tones by Bourgeois and
the great composer Goudimel, who was afterwards
murdered by religious fanaticism in the massacreof St. Bartholomew. The text of this magnificentlyexecuted work was latter on translated into German byAmbroise Lobwasser, who at once revised the music,
brought in secular modes, and altered the old plain
song into four-part harmony, at the same time fre
quently assigning the melody to the tenor. Thesecular tendency of this book is to be seen in its veryfirst edition (Herborn 1666), and even more so in
the second edition (Frankfort, 1711), in the prefaceto which Lobwasser says with great significance, "we
have left out what appeared to be devoid of anyspecial edification, and altered each psalm to its
natural and proper melody." Degglar, in his edition
of the book (Schafthausen, 1761), left the text as he
found it. In spite of all these changes the excellence
of the hook appeared on every page.In the course of time the real chorale has by those
and similar means been continually ill-treated and
overlooked, and always with less and less excuse.
But still another evil happened. Our old organistsknew scarcely anything except sacred music and the
fugues and canons with which it has been associated ;
but they were, with few exceptions, well grounded in
thorough bass, and if they went wrong at all it was in
appropriating ornaments to spiritual and not frivolous
Purity in Music. 13
uses. But what do we see now ? Thorough bass
entirely neglected, and the use of common opera and
other secular music almost entirely to the exclusion of
anything else. Whatever gets into the organist s
head during the week from these sources he must
perforce play in church on Sunday, and thus we are
so often compelled to hear so much that is secular
and unfitted for divine service that it wonld be no
matter for surprise if some day indignation manifested
itself in the Church itself. In Italy, too, utter disorder
prevails in this matter everywhere, except in the
Sistine Chapel, the history of which has lately been
given to us in a very interesting fashion by Siever in
the "
Allgemeine Musikalische Zeitung." Even in the
noble cathedral at Milan waltzes and operatic airs are
often played as preludes to the hymns ;and this in the
very city in which Gregory the Great founded his
magnificent singing schools, and where fifteen cen
turies since an entire troop of heathen soldiers, enteringa church in pursuit of fugitive Christians, were so
strongly moved by the glorious hymn which ascended
from those devout hearts that they were converted on
the spot !
In their turn, however, these great abuses had a
salutary effect in begetting a universal desire amongthe congregations that the chorale and its accompaniment might be improved. Well-known writers of the
present time also have openly avowed themselves to
be greatly in favour of recalling our churches to their
ancient dignity and simplicity in this respect ; Franz,
in his book on the Old Church Chorales, 1818;.
Mortimer, in his " Choral Song of the Reformation,"
1821 ; and Kocsler in his splendid essay on Church
Music, 1823, as well as by the part he took with-
14 Purity in Music.
others in editing the Hymns for Four Voices in
1825.
It being of the first importance that a matter of
such gravity should be fully explained, I take leave to
offer some further remarks upon it, restricting themnevertheless to the Lutheran Church, of which I ama member.The Reformers of Church music have lately, in
several instances, contended for no more than adher
ence to those melodies that have gained popularityin particular localities, as having obtained once for all
a sure footing, and only needing to be clipped, so to
speak, of their wild shoots. But this would in truth
seem to be too timid. If our congregations are capableof using inferior modern melodies instead of fine old
tunes, they are also capable of retracing their steps,
if only organists are taught where good music is to
be found, and how to revive it. There is not much
difficulty in doing this, for the fine old melodies are
easily caught, and produce upon educated persons, as
I know from experience, so great an impression, that
it is only necessary to offer them to bespeak their
acceptance.With the return to ancient music, the Protestant
communities must dismiss all sectarian spirit, and
must each be forward to adopt from the other such
melodies as are undoubtedly good. What reason can
there be to prevent a Lutheran singing a fine Cal-
vinistic hymn, or a Calvinist an unexceptionableLutheran chorale? Or why should Hussite chorales,
some of which cannot be approached, be left to the
Moravians ? At this very time the task of collating
the best, chorales employed in various churches has
become absolutely necessary, by rr?son of a common
Purity in Music.
form of worship having in many places been decided
upon by the Lutherans and Calvinists. If, as the
effect of such timely forbearance, one might imaginethe possibility of a free choice, then even Protestant
Churches ought to return to the Ambrosian and Gre
gorian tunes, and appropriate the best. For these
melodies sprang from the holiest inspirations, and are
among the choicest gifts left us by the ancient
Churches ; and they sl.ould be preserved even by Pro
testants as holy relics, inasmuch as they form a link
with a venerable antiquity, and would so confer in the
eyes of the people an enhanced value upon Protestant
churches. Luther himself publicly declares for the
grand Catholic hymns, and caused several of them to
be printed, saying that it would be a matter for regret
if such precious tunes should be lost. There is no
doubt but that such a retention of old Catholic music
might be a cause of offence to some of our conceited
churchwardens. But if we yield to them, our inter
course with the Muses would be narrowed indeed, and
at this rate all the old masterpieces of Gothic archi
tecture, and of painting, would come under the Pro
testant ban as being the works of Catholics.
Sincere Protestants will see more plainly every daythat their church would be in utmost danger if to favour
the ideas of certain dissentients all old associations
were blotted out, and that people who cannot exist
without ill-feeling towards those whose opinions differ
from their own, are merely playing into the hands of
Superstition and Mysticism, and by the bigotry they
preach, and by their animus against all the time-
honoured traditions which we have inherited from the
past, are bringing us near to open warfare. As regardsthe Ambrosian and Gregorian chant however, there
1 6 Purity in Music.
would appear to exist difficulties which T have hitherto-
been unable to explain, and as to which I would wil
lingly receive instruction from those better informed
than myself. And the principal question is this
Where are the real Ambrosian and Gregorian chants
:o be found ? The musical histories we possess do
not throw much light on the point, the history of
Forkel in particular, where bare quotations send us as
usual from pillar to post. There can be no doubt but
that the "
Antiphonarium Romanum "
contains someof the most ancient hymns and antiphons, but as it
has ever been the habit of musicians to alter and
interpolate, that work cannot, it is to be regretted, be
considered quite genuine. I have taken all conceiv
able trouble, in Germany as also in Strasburg, to obtain
a satisfactory account of the Ambrosian and Gregorian
chants, but there was no one who could help me. I
induced several friends to institute inquiries in Italy
on the subject, and particularly of the Papal choir
master;but their exertions were of no avail, notwith
standing that in Rome I was helped by a German
gentleman of high station and a man of influence as
a scholar. This friend, however, afterwards discovered
at St. Gall a document that was likely to prove of
great importance. For there is in the Library a MS.of the ninth century containing the whole Gregorian
song, and constituting perhaps the most authentic and
genuine document of this description now in exist
ence. As my business engagements render it impossible for me to devote my time to the deciphering of
this MS., I now bring it to the notice of musicians,
hoping that some one at least will create for himself
the honour of reviving a great work of the past. If
the only object were to satisfy ambition it would be
Purity in Mu^ic. 17
quite within the truth to say that the accomplishmentot such a task would bring gieater renown than anyquantity of tedious composition, which is generallyas much likely to confer immortality as writing on
. sand.
One other point of importance, now much discussed,refers to the question whether chorales should be set
in four parts and sung by the congregation. The
arguments on both sides have been set forth in print
so frequently that the dispute may be regarded as ripe
for judgment. And here I wish to make a correction ot
an error. In reviewing Kocher s essays on Churchmusic in the "
Theological Annals "
for December,
1824, I understood its esteemed author to contend
that the congregation should sing chorales in florid
four-part harmony. My chief remarks were directed
against this, and were they founded on a correct
supposition 1 still hold to them. However, Herr
Kocher has himself informed me differently; and his
subsequent edition of these chorales shows plainly that
his intention, as well as that of his friends, was simplyto the effect that the congregation should sing the
most easy tunes harmonized as much as possible in
the common chord. This, doubtless, quite alters the
matter; and here it appears to me that all depends
upon existing circumstances, namely : if a community be intelligent and religious, observant of the
acredness of the Sabbath, and with average musical
owers, if there be a sufficient number of devout
ergymen interested in the improvement of church
music, if they be helped by the counsel and assistance
of good musicians, and if great care be taken with
the teaching of music in the public schools all whichat present exist in a very satisfactory degree in the
c
1 8 Purity in Music.
kingdom of Wurtemberg then good four-part con
gregational singing is possible, and the achievement
of such a result would greatly promote musical con
cord and develope the powers of individuals of the
congregation. But circumstances are not so favour
able everywhere. How many states and towns there
are where spiritual authority is powerless from sheer
indifference;how many churches where the priest will
permit.no voice to be heard but his own;how many
places where literally nothing is done in earnest for
musical education ! Wherever this is so, I would not
advise that four-part singing be attempted, at any rate
not till the first steps have been made. And here I
would make a suggestion that people should restrict
themselves to a few of the best chorales to be sung in
unison with ample organ accompaniment ; and,
secondly, that they should make every effort to bringthe tunes within such a range that singing in octaves
would be within the compass of all ordinary voices, and
thus obviate what has hitherto so often happened that
the basses and altos or the tenors and sopranos are
half forced to be silent or else obliged to scream.
In concluding, I have one more observation to
make, which is not intended for any individual, but
which, as a rebuke of incompetence in general, will
not be objected to by those to whom it will apply.It is to the effect that a robust condition of church
music is impossible unless organists are under con
trol, at any rate as long as we can point to only a few
such organists as Apel, Ett, Rink, and Umbreit.
For to what state have the organists brought us ?
To nothing less than this that any one with the
slightest acquaintance with music too frequently
leaves the church in disgust with the lightness and
Purity in Music* ig
insipidity of the service. The prelude unfits him for
the chorale, and the intricate interlude goes a great
way to distract his attention, and the sole aim of the
concluding voluntary seems to be to obliterate the
sermon and everything else. Some allowance mustof course be made for these faults. Our organistshave frequently no chance of getting a sound musical
training; they have, as a class, no more than the
mechanical skill of ordinary workmen; and, lastly, if
the salary attached to their post is but small, they are
forced to get a living by mechanical teaching, in whichthe wants and wishes of the pupil are obstacles to the
practice of art. But these should be the very reasons
why a congregation should say," We want none of
your vaunted originality, all we require of you is not
to disturb us at our devotions, and not to scandalise
us by making use of the church as a place for the performance of tricks." Really it is above comprehensionhow the clergy have quietly borne the delinquenciesof organists.* It is of the utmost importance that this
subject should be taken in hand;and the few talented
organists cannot and ought not to demand that in
deference to them the whole service should lie at the
mercy of the many players who discomfort and annoythe intelligent part of the worshippers. An organistwho thinks highly of his playing can always exhibit
himself at recitals, or any other way he chooses.
Only let Divine service be conducted as it should be,
plainly and in regular order, and not be a recognised
opportunity for every inferior player to experiment,and in showing his own conceit trample heedlessly
*It is to us quite incomprehensible how educated musicians have
so meekly piif up with the insolence of unmusical and bigoted clergy,men. J. B
C 2
2O Purity in Music.
upon all that is sacred. If I now briefly express
my own desires, I would say Make a collection of
the best hymns, cheerful, vigorous, and fervent, makechoice of the grandest tunes that the ancient Churchhas left to us, including all that master-minds of
modern times have added to them; and finally furnish
organists with a tune-book in which everything shall
be placed in full (for many cannot play from a figured
bass), and put in their hands, as well, a collection of
approved voluntaries, so that they can never wanderfrom the path. But this should not be done in a
mean or narrow spirit under the advice of inferior
musicians. Treat the matter rather as a serious
ecclesiastical question, requiring the help of the best
advisers ; and spend on it, at any rate, not less than
the Government does upon . a third-rate theatre.
Thus will a noble work have been done that will
defy time. Such reformations are more needed byLutherans than by others, if they would be saved
from making the House of God a place where, under
the cover of human reason and art, is often to be heard
but little more than the poor crotchets of the clergy
and their helpers.
Finally, I would appeal to our Protestant congre
gations as a whole. Decide upon a reformed chorale-
book for all German Protestants, and so upon a work
which, as it would be done with the help of the best
talent, would ever more and more give to our society
a happy bond of unity.
But I know it is the very essence of German spirit
that every man should, heedless of his neighbours,
reign supreme upon his own little plot of land;and
thus my appeal might as well be resolved at once into
a sigh !
Purity in Music. 21
II.
CHURCH MUSIC OTHER THAN THE CHORALE.
When the popular mind is left to itself, it has a
natural preference for music that really and truly
reflects the genuine emotions of the human heart, and
there is no better way of working upon it than bymusic of a suitable nature. For as an average con
gregation can only learn as a rule to sing hymn tunes,
the rendering of sacred compositions of higher development should be left to trained vocalists, and so it mayseem as if angels were singing in the House of God ;
and the people may reverently listen to that for
the execution of which their numbers and want of
training unfit them. Gregory the Great first car
ried this grand plan into execution, by founding numerous singing schools ; and for a thousand years and
more afterwards the most advanced Christian States
did everything possible towards this end. In course
of time, however, people became indifferent, and Church
music (in which I do not include the chorale) entirely
vanished or became merged in secular compositions,which instead of conducing to piety made room in
the House of God for secularism pure and simple, the
very sense of propriety as to what becomes a Church
being quite lost sight of. Nor is it hard to under
stand this, because religious fervour is apt to growcooler as mechanical skill predominates. No good
thing could come from the majority of our musicians,
as if we speak the truth they are quite devoid of higher
education, poetical, philosophical, and historical, and
22 Purity in Music.
because their ambition mounts no higher than to have
the chance of giving us in Church those pieces theyhave chanced to practise, or have themselves com
posed. And the assenting ear of flippant Church-goershas everywhere encouraged the greatest outrages.
Fortunately there are still many who appreciate
genuine Church music, or who could easily be taughtto do so. I shall therefore continue in a cheerful
rather than a desponding temper humbly to give rny
little towards such a worthy end. The Church is not
the place where all that is charming ought to be
presented and enjoyed. It is nothing less than the
place of man s audience before God, to invigorate and
nerve him for his work as a man, and where in His
presence he pours forth his soul in grief, in repent
ance, in joy, and in prayer. Now, as in the presenceof God all boasting self-confidence, all abject despair,
are out of place, so neither in the House of God should
there be any excess of joy or of abandonment to
sorrow. The man, therefore, who desires to thank
and praise God in all fulness of heart will expresshis emotions, not with unbounded exultation, but with
humble intensity of feeling ; and he who is oppressedwith grief, and who out of the Church would give wayto melancholy and despair, must inside it and in the
presence of God take comfort to himself; not wring
ing his hands and running here and there with cries
and groans, but, finding comfort by faith in a present
God, he ought with patience and meekness to call on
Him to behold and compassionate all his afflictions.
What is best becoming in a Church may be proved by
thinking for a moment on the office of a preacher. In
the theatre it is sufficient if an actor of good carriage
place himself in all manner of postures, and according
Purity in Music.
to the demand of the occasion bluster and rage,
cringe and fawn, and blaze and burn in a frenzy
of passion ; and, in brief, to figure in the roles
of all countries and all times. But what do we expect
of a priest if we do not want the Church made a play
house, but seek there for sustenance by God s word
from the mouth of His ambassador ? We should
certainly expect a steady, refined, and earnest address,
spoken with manly energy, calmness, and feeling, but
without excitement, show, or trickery ;an address
that shall lead us to forget the trivialities of this life,
and associate our thoughts with a better, where levity,
hurtful passion, and devouring sorrow shall exist no
more. On these grounds, a priest in the pulpit should
not bawl like a town-crier who would intoxicate the
people with joy at the news of a great triumph ;should
not abuse vice with the fierceness of one who resents
a personal insult;should not be all butter and treacle
in his style ;should not whine and shed tears
like one deserted by God and man; should not rave
and bluster nor gesticulate to show his emotions;
should not wring his hands in despair ;should not,
even if he is master of himself, shed a single tear, how
ever deep the guilt he may have to deplore. This, and
only this, is behaviour befitting the Church. For it is
her province not to excite what is of the earth, not to
fight with worldly weapons, but by the suggestion of
a Heaven where all storm ceases, to soften and elevate
those under its influence.
This guiding rule which ought always to be present
to the mind of a clergyman should also be held in
mind by all good musicians who would help in the
Church s object, and not employ the sacred building
merely as a place wherein all kinds of sounds that
24 Purity in Music.
tickle the ear can be heard. The question as to whatform of music belongs to the Church is no more worthyof attention than to ask whether a clergyman is at
liberty to declaim, to show emotion, and to emphasisedeclamation by gestures. All kinds of music are suit
able for sacred use that do not raise secular associa
tions, such as a waltz or a gay Sicilian dance tune.
A Largo, an Adagio, a Grave, an Andante, an Allegro,a fugal or non-fugal composition, can all be performedin the Church, but should one and all be of a staid
and dignified character throughout, elevated and sober,
and of such a nature that any preacher of note could
say," This splendid music is a fitting introduction to
my discourse," or,"
coming after my sermon it has
awakened the people to a sense of its import ;"or
again, as sometimes might be well said, "After such
singing my lips had better be closed, and the spirit
left to its own silent worship."
These statements will easily approve themselves to
all unbiassed minds, and will also be found to be just ;
but I am quite aware of the objection frequently made
by unthinking people, to the effect that this species of
Church music would become wearisome, and that
genius will not be shackled. But the reply to this
objection is one that cannot be too often mentioned ;
namely, that real genius no more disdains strict laws
than it does hard labour; and to pretend a supercilious
freedom from law is merely a ridiculous vanity which
has not the ability requisite for necessary obedience
and proper submission to law. Only what is Church-
like belongs of right to the Church, and if this be promoted skilfully, all objects of devotion are fully
attained. It must not be lost sight of that men are
called upon to fulfil numerous onerous duties in every-
Purity in Music. 25
day life, and that the office of the Church is not to
minister to indolence, but to encourage energy. It
will therefore be its duty to keep within its own proper
boundaries, and not endeavour to extend them beyondwhat the Creator himself intended. It is hypocrisyto regard the feelings and ambitions which in the
House of God elevate the human soul, as belongingto the aims of worldly life. Whilst it is distasteful
and unnatural for Puritanism, self-immolation, and
monasticism, to try and smother all things in existence
that God has given to man for worldly enjoyment, it
is none the less distasteful and unnatural when med
dlers, because of the existence of wrongs, vilify all
that is heavenly, and from hatred of hypocrisy are led
to separate religion from the Church in order to save
the world from clerical excesses.
A man of strong mind who has found edification
within the Church, will go on that account into the
the business of the world with all his heart, and if he
seek spiritual delight, he will endeavour to either fit
himself for great and grand contemplations by a close
study of poetry and philosophy, or else to find the re
quisite nourishment in mere gaiety and enjoyment of
life. On these grounds, therefore, there are threestyles"!
of music : the Church style, which is alone appropriate j
to purposes of worship ;the oratorio style, illustrating
great and solemn themes under human images ;and
the opera, representing sense and emotion in a
poetical form. As regards a fourth style combiningall these elements, and in which passion overreaches
itself, and every possible eccentricity is attempted in
music, this has no more place than cramp will havein a healthy body. Therefore let us leave to the Churchail that properly belongs to it, and let us enrich it with
26 Purity in Music.
all the resources of Art, but not on that account ne
glect the other styles of music; rather let us attend to
these more perseveringly than to Church music, for
men s minds cannot long rest in the region of the sub
lime, and in this life the claims of a busy world are of
more power than the worship of the Almighty. But
the boundaries must not be confounded. Let those
who pray do so at Church but not in the ball-room.
As the charms of the ballet have no place among the
mysteries of religion, I should deem it unpardonablefor a single bar of a sacred work of Palestrina s to be
introduced into an Opera ;but it would be more offen
sive to find in a Mass the slightest trace of the rich and
clever fancy so essentially characteristic of the Figaroof Mozart. The public judgment can indeed alwaysbe imposed on if an abuse be disguised by a specioustitle. The blind devotees of fashion are quite satisfied
that the music set to the " Liber scriptus proferetur,"
in Mozart s Requiem, should be exactly the counter
part of that to the words of the morose female jester" Little Needle
"
in the Figaro of the same composer.But what person of education and taste in listening to
the " Last Judgment" would care to have the song of
the Little Needle dinned into his ears, or to be re
minded by the joke about the " Little Needle "
of the
terrors of the hell which might be his lot ?
Going now to the history of Church music, a verybrief consideration of the subject will prove that the
most modern tunes are the least deserving of praise ;
and that as with painting and architecture, so with
Church music, the laurels are due pre-eminently to the
grand old masters. As early as the fifteenth and
sixteenth centuries the fine Church composers of the
old Teutonic and Flemish school show such force and
Purity in Music.
depth of sympathy, joined with such skill in the wonderful interlacing of voices, that we cannot adequately
deplore their utter neglect at the present time. Asan example, if we compare Josquin s Stabat Mater
(died 1475) m five Parts with the restless Stabat
Mater of Pergolesi, or Senffel s (Luther s contemporary)Seven Words of Christ, with those by Joseph Haydn,whose harmony passes and re-passes from one style to*
another, there can be no doubt on which side lies the
weight of evidence of religious power. The last great
composer of the Flemish schools, Orlando di Lasso
(Roland Lass, born 1520), in the many works which
have reached us, and which perhaps sixty folios wouldnot hold, appears to us a giant than whom the Churchcould not desire a tenderer or more tranquil and sympathetic. By his side comes the Italian Palestrina
(Praenestinus) none the less fertile of invention, and
perhaps deeper in conception. Such a completemaster was he of the Church tones and of the use of
the common chord, that there is perchance more reposeand inward satisfaction to be derived from his compositions than from those of any other. These being published long ago can now indeed scarcely be obtained
in their original form, and it is difficult to obtain true
copies of them in manuscript. I should like, however,to direct the attention of those who may at present be
totally ignorant of him, to the work, which can easilybe procured, which was published in Paris some years
ago, unfortunately with a good many misprints44 Collection des pieces de musique religieuse qui s exe-
cutent tous les ans a Rome durant la semaine sainte,"
par A. Choron. This collection contains amongstothers, Palestrina s "
Responsoria" which cannot re
ceive too much praise, though the lovers of perpetual.
23 Purity in Music.
frivolity and folly many perhaps see no good in it. It
must indeed be realised first of all what it is that these
Dirges on Christ s Passion sung on Good Friday nightare intended to convey ;
and if afterwards they be sungover by practised singers the rest will speedily unfold
itself, allowing of course the voices to be good and
pure, the requisite expression attended to, and time dulykept ; without haste on the one hand, or on the other
starting with the notion, common to Germany, that the
sustained notes of Italian composers of necessity ex
haust the breath. Special regard should be had to those
parts of the Responsoria which are for three voices;
their beauty on the whole is never so patent as when
performed by first-rate female voices, one to each part.
If they are stiffly played, and the singing be harsh,
unsympathetic, and screechy, then the mirror will
certainly be dimmed, just as it is easy to spoil Goethe s
"
Iphigenia "bya bare recitation at any speed, a
thousand times easier than such a play as " Misan
thropy and Remorse."
Although Palestrina, who may fitly in every way be
compared with Hemer himself, be in his way un
equalled, and thus has given his name to the most perfect style of Church music, yet it is wrong to regard him
as at once the beginning and the end of the granaChurch style. To the earlier German and Flemish
musicians and among the last must be mentioned
Palestrina s teacher, Goudimel belongs undoubtedlythe title of Inventor. Thus there rank with Pales
trina those in many instances comparable to him, viz.,
the Spaniard Morales, whose " Lamentabatur Ja
cobus," was declared by the earliest musical historian,
Father Martini, to be the most perfect work known.
Close upon Palestrina also follow two great Church
Purity in Music. 29
composers, who cannot be said to be influenced by
his writings : the German Hiinel or Handl (Jacobus
Gallus, born 1550) and the Spanish Tomaso Ludovico
Vittoria (born 1560), the latter of whom combined
most opportunely a reverent spirit with Spanish fire.
Following these must be placed many Italian authors
who composed, if not in all cases, yet generally
with success, in the strict style, in chief Allegri ;.
Alessandro Scarlatti, who wrote nearly two hundred
Masses, and was thought a good deal of by Handel and
Hasse ; Bai, Lotti (the favourite of Hasse), Durante
Bernabei, Father Martini, and the frequently admirable
yet uneven Jomelli, as also many others, whose works
I have seen, and many more whom I know as yet
only by report. After Palestrina, meanwhile, a ten
dency soon arose towards what I have before called the
Oratorio style, which was introduced everywhere in the
Churches, except the Sistino Chapel, which has never
entirely lost the strict ecclesiastical spirit, and has
been as regards music like a rock in the sea. The
spread of this tendency is not at all mysterious, for it is
the sublime that soonest loses its eftect on the general
public ;and as the old musicians had to do without
concert-rooms and theatres, it was not unnatural
that they should make the Church the scene of their
inventive powers ;an explanation which also puts the
growth of sacred plays in earlier days within the clois
ter s pale. A very large number of lively composersnow arose ; and among them as deserving of special
mention are Caldara (born 1668), Marcello (born 1680),
Durante (born 1693), Leonardo Leo (born 1694), Baletti
(born 1705), and Pergolesi (born 1707) ; and it is to their
credit that even in the liveliest of their works there are
numerous indications of their regard for the strict
3 Purity in Music.
style ; that they seldom or never are led into the fri
volities of opera, and that they always sought in one
way or the other to reconcile the severe and the beau
tiful, and thus to satisfy at once the sacred and the
inventive spirit. To show this it is only necesssary to
take Leo s celebrated Miserere for eight voices, which is
not certainly to be compared in every respect with
similar compositions of Lasso, Allegri, Bai, or Lotti ;
but how grand is it as a whole in style, how tenderly
suggestive of religious feeling the use of the Gre
gorian melodies! And if the "Cormundum crea in me"
be sung with exactness, our thoughts cannot but turn
to the sweet angels of Heaven, and not to the syrensof the Opera. In these vigorous works of the greatItalian sacred composers, all faults are generally
compensated for by the fact that all flows from a real
inspiration, and is written in a spirit of freedom and
purity of taste that can well make one glad to forgetfor a minute the sacredness of the spot he is standingon. This style is the one to which the first German
composers of the last generation Handel, Sebastian
Bach, Hasse, and Graun have, in their happiest
efforts, well nigh entirely devoted their talents;
in part from the conditions of German churches, and
in part, as cannot be gainsaid, because genius has
far more liberty when unlettered and free from ecclesi
astical chains. But these men have never allowed
their oratorios to wander into opera; and, in lact, Handel s strict adherence to the combination of sacred
and spirited elements, while at the same time he was
doing, and was iorced to do, such a great deal ior
opera, commands our sincerest admiration.
Then there are the works which during the past
titty years have appeared in the sacred and oratorio
Purity in Music.
styles. But what shall I say of these? I ones morerecord as my conviction that the Church style is well
nigh totally lost;
the oratorio style has almost
entirely been merged in the operatic, and this againhas degenerated into a mad and ridiculous extrava
gance : such is the medley that it is often attempted to
introduce into the Church. I cannot stay here to
name exceptions which ought to be made. Manycomposers now living know perfectly well, from myestimate of their works, that I do not belong to those
who are blind to all that is not old, and who throw
aside unnoticed every modern work because it is new.
If I were to ask those who appreciate real merit and
possess an adequate knowledge of modern music,
speaking conscientiously, if all the numerous works
which become fashionable through the personal influ
ence of their composers or publishers, or from local
considerations, show taken all together as much
power of genius and intensity of feeling as Handel s
Messiah alone, I cannot conceive that any sober-
minded and educated person would regard myquestion as out of place. Prove it by good and
practised vocalists, and you will find it difficult to
bring forward any modern work after the Messiah
which does not sufter by comparison. But the best
works of Palestrina, Lasso, Vittoria, Caldara, Mar-
cello, Lotti, and Durante, will never lose their
attractiveness, preceded though they be by all the
grandest compositions of Handel and Bach. Advocates of the modern school consider themselves much
injured by inferences of this kind, and it is
particularly held an atrocious mis-statement if no
exception be made in favour of the Masses of
Haydn and Mozart;but it is generally known that
Purity in Music.
neither of these composers considered their sacred
works of much importance. In fact, Mozart laughedat the Masses which circumstances compelled him to
write, and Joseph Haydn unreservedly yielded the
palm in this respect to his brother Michael. I readily
grant that these Masses are of a pleasing nature, being
possessed of much ease and elegance; but I submit
that their dominant character is sensual, worldly, and
in short entirely unfit on the best of grounds for
the use of the Church, and that within the sacred
edifice they can give no delight to an earnest mindconversant with the grand old works in the true
Church style, or even with the better specimens of
oratorio. It is the same as with the building of the
church itself. We erect nowadays numerous gaudy
buildings, variously painted and ornamented, but not
one that produces the overwhelming sensations ofaweand reverence inspired by the portico of StrasburgCathedral.
I must here call attention to the retort, sometimes
made in lofty tones by many who call themselves
musicians, about the glory of moving with the times,
and about the enormous strides that art has lately
made. This sort of talk has already brought us to
this state of things that the glorious symphonies of
our countryman, Joseph Haydn, are put on one side
as out of date or obsolete ; and even Mozart s pieces
are played in much faster time than he himself
intended ; as if the unrest which standing armies,
expresses, and steamships have brought upon Europeneed invade the artistic kingdom of music !
Admitting, just here, the superiority of the modern
school, I would ask, why should music of all other
rts be cramped with poverty and meanness of spiiit?
Purity in Music. 33
It is an admitted necessity not only to keep upwith the times, but to make use of the works of all past
time, as being the best means of obtaining knowledge,and for the reason that as a rule every age has its own
distinguishing merits. Then why should music, per-
lorce, be an exception ? It is a strange characteristic of
our age that, as regards pleasure, not merely of the
mind but also of the table, we cannot adequately
digest our food, speedily become sated with each dish,
and yet are never tired of sweetmeats. You may call
this the spirit of progress ; yet should we, after all, be
ashamed of retracing our steps to our great ancestors,
and borrowing from them somewhat of their calmness,
their stability, their strength, and so gain somewhatof the beautiful and loving spirit that has given us so
many peaceful, refreshing, and lively melodies ?
It is certain that the art ha^ made gigantic strides
of late, especially in instrumentation ; the science of
picturing by music merely sensible objects and extra
vagant fancies ;the science of painting tone-pictures
and the representation of the forces of nature ; the art
of performing a shake with an expiring breath ; andabove all, the art of binding music to all that is
opposed to it. Justice, on the other hand, demandsof us that we thankfully confess that in the march of
Art much has been accomplished for sound styles of
music. As an instance, I should deem it childish to
think for a moment of comparing Palestrina s " Missa
ad Fugam," just published at Paris, with one of the
great fugues of Handel or J. S. Bach. Yet let us not
for that reason lose sight of the infinite amount of
rubbish and ugliness that modern fancy has at tha
same time brought to light ; how the fugue formed b$eetain easily learnt rules has become a refuge for the
D
34 Purity in Music.
incapacity of hundreds, and how numerous newtheories about consecutive fifths, have been invented
by modern harmonists which have even now been
protested against on the authority of ancient models.
Any man of intelligence and impartiality must
acknowledge that the old masters were as well ac
quainted with the principles of music as modern ones,
and were acquainted with melody (as is best shown bytheir beautiful chorales) as well as harmony ; and this
last was explored by them, the founders of all the prin
cipal rules now used, more deeply and earnestly than
is done now, as many old theoretical treatises will
prove. The divisions of music to which all their
attention was devoted were, in consequence, broughtto the greatest perfection ; and, indeed, it would be a
matter of surprise had the fifteenth and sixteenth
centuries, which teemed with men of genius, produced
nothing noteworthy in music alone. We read of
Correggio that in his last sleep before his death he
dreamed with rapture that he had met Palestrina in
Heaven ; and we may therefore imagine that the great
works of Palestrina inspired the talented painter
while below with reverence for their composer. Let
our musical egotists, who have often to assume a
pitiable disdain to hide their own emptiness, gladly
avow what no seeing eye can help observing. Wecondemn what we have never seen ; we decline to be
introduced to what we can hardly understand and
perform, and both money and energy are lacking to
find and study but half a score of the manythousands of old works which have descended to us.
"
A composition to be classical must, as is universally
acknowledged, be the outcome of a great spirit,
evincing the unfettered action of a great mind; and
Purity in Music. 35
by such right it is the property of all time as long as
genius is honoured. Plato can never cease to please
from lapse of time, any more than Shakespeare ; and
Mozart as a real genius would have been a splendid
example of any style, whether he had lived earlier or
later, among Alpine goatherds, in a convent, or in
kingly magnificence.An increased cultivation may certainly produce
great improvement in the matter of finish ; but
strength and energy must ever spring from the well of
genius ;and this energy, from the very circumstance
of its deficiency of finish, generally shows a qualityand sprightliness that a fully cultivated state of art
cannot give but very easily destroys. In this respect
I*cheerfully grant that if those who are always makingtrifling objections obstinately persist in keeping their
eyes shut and decline to tear themselves away from
the hysterical and excitable style of the present time,
they must leave the compositions of the grand old
masters in the Church and Oratorio style alone.
Muddy water reflects no image, and Raphael s
Angels are not appreciated by dazed eyes ; but if theywould only nerve themselves in earnest for those
works, choose a time when they feel calm, serene, and
capable of being impressed by other than sensational
things, and do their best to obtain a first-rate render
ing, they would soon enough discover in them a springof divine satisfaction, and would see that they who nowact the part of censors have naught to condemn but
their own thick-headedness and bigotry. There cer
tainly have been composers of inferior note in former
times, in Italy as well as in Germany; and it must be
admitted that the old opera suffers frequently from a
degree of stiffness which the empty and frivolous
D 2
36 Purity in Music.
style now in vogue has quite submerged. The fact is
that just as in early days the old Church music beingthe oldest class of music often exerted an influence
on the stage, so now in its turn the sensuality of the
modern stage is in fair way to re-act upon the Church;and I leave it to our high and mighty critics to en
deavour to answer the question, whether it be as dis
tasteful to behold the awkward display of a nun whohas abandoned the convent for the stage, as to see
the part of the Virgin Mary taken by a thoughtlessactress in a church. But it may be asked, what would
be a fair estimate of the old opera ? Finished in acertain way, and complete in itself like the modern
specimen, it certainly was not. But if, by way of
comparison, we were to search out and enumerate all
that is praiseworthy and striking in the early operas,
how much is there from the modern collection that
could weigh in the other scale, and how many of the
favourite pieces would have to retire ashamed into
the rear ! It is only needful to look into Handel s
operas to find the most admirable passages. Theremark has been made by Forkel quite in keeping,
with his views on the subject that it is not easyto find any air of Handel s fit for presentation at
the present day, and this has been repeated byothers who knew even less of Handel than did
Forkel. A more rash statement could scarcely
be made. Having a tolerable knowledge of Handel s
works, I am convinced that I could extract from
them a long list of airs, chiefly for soprano,
alto, and bass, that would not fail to delight anyone susceptible of the charms of music, showingas they do a purity, a tenderness, and a sympathy not
often to be found in modern composers.
Purity in Music. 37
III.
POPULAR MELODIES.
A MAN of culture will be chiefly inclined to seek in
struction and amusement from intercourse with those
noted for their education, yet he ought not to lose
all taste for the charm of innocence; for refinement,
as seen in the world, is not always the true growth of
nature, and it is in this sense quite possible tor a
learned man to rank below a child. It has been said
of children under the Gospel, that of such is the
Kingdom of Heaven, and in this lies an importanttruth. Complete openness, truth, and sincerity are
the best features of human character. But culture
and the accidents of life generally make a man moreor less cunning, calculating, and deceitful
;while a
child is seen by us with his virtues and his failings
fresh from the hands of nature. So he who understands
not the child will not know the man;and Rousseau
rightly says that the time of youth s free intercourse
is the time a wise man should observe.
This will also apply to music. Without doubt the
greatest pleasure any man of intellect can find in
music is a complete work of art. But how apt is
art to become constrained, how easy it is to overdo
it, and how often is not music composed by mere
ingenuity, and therefore exciting emotions of admira
tion, rather than love ! It is no exaggeration to saythat one half of our music is unnatural a sort of
mathematical exercise without any life ;a mere
jneans of showing off to the greatest advantage the
3S Purity in Music.
cunning of nimble fingers, and such a mixture of
unhealthy components that it may soberly be
questioned whether it does not exert more influence
for evil than for good. On the other hand, all the
melodies that spring from the people, or are retained
by them as favourites, are generally chaste and
simple in nature like a child s. Songs like these
almost always represent the emotions of strong
natural minds, and have in consequence, in a variety
of ways, an intrinsic value from their association with
great national events;
and coming from times of
national innocence and vigour, they lay hold with
irresistible grip upon minds which, however perverted,
are still susceptible of real and healthy emotions.
Considering this, I hold the study of national melodies,
in which I do not include street tunes, but those
songs which live and flourish in the hearts of the
people to be of the greatest interest. But in order to
be of real assistance to art in respect to them, it is
requisite to glance around, and not restrict ourselves
to those songs popular in our own land, but embrace
the world in our survey, and try to judge a nation s
character by its songs. To gain an idea of each
country we travel and read travellers accounts ;and
why should music often so peculiar and characteristic
be left unstudied ? Had Goethe, when he had written
his "
Goetz," done rothing beyond portraying old
German character, he would have been entitled to all
praise, but he has earned the distinction of prince of
our poets from the fact that in his "
Iphigenia" he
has given us glimpses of the brightest periods of
Grecian history, as he has shown us Persia and
India in his " East and West Divan," and in " Faust "
he belongs to the universe of genius.
Purity in Music. 39
A man who in spare hours seeks refuge and recrea
tion in the pleasant and bright Kingdom of Art from
professional toil, is apt to do so more heartily than
the professional artist who gets his living thereby.
In other words, sauce is more pleasant in small
quantities than in large ; and so I have taken great
pains to find materials to satisfy my curiosity in
connection with this subject; and though I have in a
large measure succeeded, I am yet far from the
goal. It is the misfortune of those who makehistorical investigation in music to find themselves
at a disadvantage.As a rule musicians will not listen to history.
Much, indeed, could be obtained from the few well-
read musicians, but here the outlook is not very
bright. Collectors are generally far readier to receive
than to give; they are wonderfully close and forgetful,
and are only too prone to leave inquirers to shift for
themselves with what is equivalent to saying,"
Physician, heal thyself." Others say they are ready to
do anything, but often only go as far as good wishes.
Gradually, however, and by the help of some liberal
friends, I have collected a variety of popular airs
which I regard as valuable. Others perhaps possessor know of many more, but I am certain there are
many acquainted with less. I may, therefore, openly
specify those I have and know, trusting that those
richer than myself will supply my shortcoming out of
their abundance, or may at least put me right if I go
astray; and in return I shall place at their disposal
any duplicates I may have. Our search after national
songs will naturally lead us to look out for those preserved from the remotest eras. We are without
satisfactory specimens of the era before Christ, al-
40 Purity in Music.
though some theoretical treatises have reached us.
Old Hebrew melodies would possess for us the ut
most interest, as they most likely exerted a great in
fluence upon the early Christian Churches. On the
supposition that Judaism obstinately retains ancient
usages, I made many inquiries in German Synagogues, but without avail. The only piece to which
my attention was called, and which I was able to trace
with certainty, I found to be a recitative from an
opera of Mozart ! Like searches have been made byMarcello ;
and several of the intonations used byGerman and Spanish Jews which he gives in his
great collection of Psalms have a suspiciouslyEastern character; nor is there any firmer foundation
for a very interesting work, lately translated from the
English:- Collection of National Hebrew Melodies,
with Accompanying Words by Lord Byron," published
by G. K. R. Kretschmer, at the Depot for Art, Geo
graphy, and Music, at Berlin. No one can denythat of the examples given much can be traced to
modern sources, especially in the accompaniments.Genuine ancient Gieek songs would undoubtedly
prove as interesting as Pindar, yet they have been
lost. Burney, in his treatise on ancient music, has
indeed inserted some songs copied from a Parisian
MS., which really seem to belong to ancient Greece,
which have been several times quoted, as for examplein Forkel s history. They are evidently very original,
for which reason our celebrated philologist, Wolf,was highly pleased with them, but the ideas obtain
able from these as to the general character of Grecian
music are very scanty indeed. It is probable enoughthat some remnants of old days may still exist amongthe modern Greeks, bui I can call to mind no one
Purity in Music. 41
Avho has directed his attention to this point except
Sulzer in his History of Transalpine Dacia (Vienna,
1781-1782, 2 vols 8vo.), to which some popularmodern Greek songs are appended. They are equally
interesting as clearly recalling some of the tunes of
the Russo-Greek Church.
Coming to the era after Christ, we find the songs of
the Troubadours and Minnesingers, as well as of those
called Meistersingers, to be of the greatest value.
But just where everything ought to have been clear,
had there always been students of the history of
music, all is as yet in complete darkness. The ex
amples given by Busby, particularly the splendid
song of Ganlem on the death of Richard I. of
England, prompted me to resume my search ; but
I found nothing but such dry quotations as are
generally given by Forkel. It was a mere accident
that I got hold of some first-rate melodies from an old
Nuremburg MS., and also from "
Blips Von Zesen s
Dramatic Vale of Roses and Lilies"
(Hamburg, 1670,
8vo), in which are some very original things, and
lastly from the following publications :" A Pocket
Manual of Choice and Lovely Popular Songs" (Berlin
1777), and " Melodies to a Collection of German,Flemish, and French Popular Songs/ arranged by
Biisching, and Von der Hagen, and published in
Berlin by Braun. But they do not contain manyattractions
; and, as with many poems that pass as old,
one can never be certain that unprincipled editors
have not inserted their own productions. The most
original material, and of true German origin, is to be
found in the work called "
Popular Songs of Austria,with their Airs, collected and edited by Ziska and
Schottky, Pesth, 1819. Numerous editions of Swiss
4? Purity in Music.
songs should also be noted. They are known to all
musicsellers, and in Switzerland are to be viewed
opened in the windows of the booksellers. It is very
likely that some fresh light may be thrown on the
troubadour songs. On the credit of the well known
story that the Swedish Queen Christina made a
collection of them, and that they were in the Vatican
Library, I induced a learned friend to make an
examination, but I was much disappointed by the
information that the MS. consisted of words onlywithout notes. I then applied through the agency of
a friend to Raynouard, editor of the " Choix des
Poesies des Troubadours." He gave me a song with
accompanying notes, saying that he had many, and
would let me have all if I could decipher this one.
But, alas ! I was not skilful enough to do this, and so
passed the treasure on to a friend more versed than
myself. He lost it almost as soon as he had it, and
afterwards I never had the time or chance of advertingto the matter. I merely give a hint to all real
musicians to make Paris the scene of further search.
It is not too much to say that true lovers of goodmusic would willingly part with a thousand variations,
sonatas, and other productions of the day, if the
ancient works of art could be procured in place of them.
The English have paid the greatest attention to their
national songs ; yet in the recent editions the words
are quite modernised, and new words often allotted to
the tunes. The best notice of the subject is found in
the preface to the following work, which contains the
old Scottish songs without accompaniments," Scotch
Songs"
in two vols 8vo, published by Johnson,London, 1794. Subsequently there came out, but
without date, in London, excellently printed in four-
Purity in Music. 43
teen folio books, and prettily illustrated, a completecollection of Scotch, Irish, and Welsh popular songs,
with several modern additions, and a pianoforte
accompaniment, containing preludes, postludes, and
interludes, in the composing of which Pleyel, Joseph
Haydn, Kotzeluch, and Beethoven assisted. Thetitles of these works, which, I regret to say, are
expensive, are " A Select Collection of OriginalScottish Airs for the Voice," &c., London, printed by
Preston, four vols. folio;" A Selection of Irish
Melodies," ibid, eight vols. folio;
" A Selection of
Welsh Melodies," two vols. folio. These works, and
especially the two latter, comprise, as might be ex
pected, with much that is trivial, an extensive series
of most touching, hearty, and lively pieces, which
captivated no less z personage than Joseph Haydn.Russian national songs are very remarkable, and
some of them have a decidedly Oriental cast. Myinformation in regard to these is derived from the
following works, which contain a pianoforte ac
companiment. The titles I give in Russian, with
Roman letters :
"
Pjesennik ulu polroe sobranie
stariich u nobiich Rossiiskiich narodniich "(Peters
burg, without date, 8vo) ;
" Sobranie Russkiich*
narodniich, pjesen s iich golosami, poloschenniichna musiiku Ivanom Pratschem "
(Petersburg, 1806,
two vols, 4to).
Many fine old Danish airs are contained without
accompaniment in the fifth volume of " Danske s
Melodies from the Middle Ages," by Nierup andRahbek (Copenhagen, 1814, 8vo.).
Very interesting old Swedish and Finnish songsare to be found with a few accompaniments added in
Geyer and Afzelius s " Swedish Popular Melodies,"
Purity in Music.
Stockholm, 1814-1816, 3 vols 8vo. ; and also in
Schotter s " Finnish Runes,"
Upsala, 1819, 8vo.
I am acquainted with no printed edition of the
popular songs of Italy, but I have a goodly number in
MS. Every one knows how pleasing some of themare. My only knowledge of the National Songs of
Spain is derived from Spanish female singers. All
my attempts to obtain the best specimens in print, or
MS., from Madrid have been without avail. It can
hardly be doubted that any person who had the time
and inclination to search for the Popular Melodies of
Spain, would be sure to find some remarkable things,
considering the talents and fire of the Spanish people,
calling to mind only their Morales and Vittoria, and
seeing that formerly nearly all the best singers of the
Papal Chapel were Spaniards. The Popular Songsof Brazil, and the Songs and Dances of the Ameri
can Indians, appeared some years ago in an Appendixto Spix s and Martius s " Travels in Brazil," but the
Brazilian songs appear to have sprung from recent
Portuguese operas. Opera has now such an influ
ence that any one who does not regard the land
marks of history is almost sure to be deceived. In
the summer of 1824 I brought together the best
female singers in the Bernese Alps, in order to hear
the old melodies, but, alas ! the first selection wasa new operatic air ! In his work on Indian music,Sir William Jones has given us Indian, Persian, and
Moorish songs, sometimes without words, and alwayswithout accompaniments, of which F. H. von Dalberg
published a German translation (Erfurt, 1802, 4to).
A number of these, selected at random with much
subsidiary matter, appeared in London, very showily,but occasionally very badly set, under the title,
Purity in Music. 45
Indian Melodies, arranged for the Voice and
Pianoforte in Songs, Duets, and Glees, by C. E.
Horn," i vol., folio. The narratives of various
travellers deserve attention, but care must always be
taken to find the spirit of each piece, and this it is not
easy to do, particularly when the key is uncertain, for
which reason it is not uncommon to this day for the
best pieces to be utterly ruined by false harmony, and
especially from not knowing the forbidden thirds and
fifths.
I have often wished that I were qualified, as a
musical theorist and complete linguist, to give mywhole time for only a year to collecting the best songsof all climes. I should soon collect that which would
give pleasure both to the learned and unlearned. I
leave it, however, to those who have more knowledge,
talent, leisure, and opportunity to consider seriously
a compilation of this kind. A return to simplicity
and naturalness is daily becoming more necessaryin all respects ;
and Music certainly can boast but
little of having had no share in the extreme tendencies
of the present day.
IV.
THE EDUCATING INFLUENCE OF GOOD MODELS.
KANT in one place remarks concerning Mathematics
that they are but a meagre science, because an unfit
subject for philosophy ;and the same remark might
almost be made of music as regards its presentinfluence upon education. Execution and flourishes
abound, mountains of wonderful difficulty, a plethoraof notes instead of completeness and perspicuity, but
46 Purity in Music.
except the satisfying of vanity or professional fancies
there is small profit or pleasure, so that our sensible
maidens when they get a home for themselves andcan settle down there willingly fling away all the so-
called art they have acquired. Art is not art if it
possess not a living spirit ; and this can be easily
proved of music by going back to its point of origin,
.and where it became a necessity. Music, to put it
in other words, is essentially nothing but as it were
the outflow of emotion of mental ecstasy in tone ;
and when a composition answers this purpose, it will
always stir and enrapture all unprejudiced minds,
excepting of course that peculiar class that have " no
ear," and to whom music is a sealed book, like a
statue to a blind man. Music needs a code of rules
as much as poetry requires a system of metre;and
yet real excellence in a musical work can no more be
acquired by adherence to rule than in a poem from
the order of its metre. A composition that appealsnot to the heart, or which clashes with the feelings, can
never be anything beyond a piece for practice, however much it may be extolled by the admirers of
bluster. A Dutch preacher succeeded, after thirty
years labour, in engraving a whole regiment of
soldiers upon a small coin with a pin, but I should
not hang up the coin as a worthy companion to a
Madonna by Raphael.I readily grant that music can be adorned by
artifice just as a pretty girl by dress, but the decora
tion must not be confounded with the essence. The
divinity of music is only perceived when it lifts us
into an ideal condition of existence ;and the composer
who does not do this much, is, as far as we are con
cerned, a mere hewer of wood and drawer of water.
Purity in Music. 47
If in judging musical compositions we see a commonstandard of comparison in men s ideas and instincts
(such, that is, as are worthy of art, and so may serve as
a guide), we find a great difficulty in endeavouring to
bring all classes of people to one common measure.
For, as concerns instincts, every one sets up his own
standard, often so mixed with the whole individual
nature that no human power can make way againstit. First take the wild savage, who embodies in his
songs and dress his highest ideal of brute force, and
then go through innumerable gradations down to the
sickly heroine of romance, who recoils from all that is
hearty and true how amid these is the talent of the
musician to find proper ground-work for his erec
tions ? Consider, too, the fanciful meanings, and
the half philosophical, half poetical solutions for ever
attributed to simple things at the present time, and
that precious idleness which will not pursue or obtain
anything solid, and so tries to subdue us by merenoise.
I know those who have studied, or pretended to
do so, some twenty or thirty modern pieces, and whothink they have therefore rendered themselves such
complete masters of music that they turn a deaf ear
to all else, talk the most blatant nonsense, and cannot
help a smile of pity if any hint is dropped of Lasso,
Palestrina, Morales, Lotti, and Durante, not to speakof the favourite of Luther, Senffel, whose name even
will not be liked by their captious fancies.
When I received my first impressions of these grandcompositions, which for me will ever have a charm,I used to be hasty if others would not understand
them, and could attend to nought but the fragments
they had in their heads; but now that I have learned
48 Purity in Music.
by experience, although I still have some feelings of
the kind, yet I still sit calmly and politely, andcall to mind the story of a Minister of State whocame to Frederick the Great, and depreciating Homer,Virgil, Plato, and others, of a like character, praisedto the skies the first catcher of herrings. To which the
King merely said,"
I suppose you are very fond of
herrings." Indeed, there can hardly be a more mistaken idea than that music can make a man ; for it
can do nothing but respond to the good that is in
him, or else revive something that lies asleep in him.
A cold, haughty man will never understand a grand
piece of music;and if there be joined to this a quarrel
some disposition, or the usual professional conceit,
as offensive as it is unproductive, or if, worst of all,
when he goes to a concert, his little soul has no placefor more than the two or three pieces he has at some
previous period acquired, or has heard in his own be
loved city, then certainly are all efforts at conversa
tion useless.
Arguments and theories can no more enlighten on
the subject of music than can the mere principles of
painting make a correct judge of colours. Those whoboast of musical theories are much attached to ex
planations, but are blind to the small effect they produce. The human body permits of description more
easily than an unseen note, and yet none have ever
found it on inspection exactly the same as they had
imagined. There is, however, one great resource at
the option of the lover of real music, which must
always be considered the best means of controllingtaste and feeling, and this is the instruction and inv
provement conveyed by classical models. Nomatter how far false culture may twist and narrow
Purity in Music. 4.9
men s minds, it is quite certain that if the taste has
not been artificially ruined or hopelessly depraved,the better feeling is not utterly quenched, and at the
worst but sleeps; anc1
it will be seen as a rule that the
study of great works leads ultimately to a just appreciation of their merits. I have known enthusiastic
admirers of Kotzebue, who quite altered their opinionsafter reading Shakespeare; and I, myself, fifteen years
ago, admired musical compositions which now with
more knowledge I can scarcely look at; and such has
(been
the case with others. It can hardly be credited
how swiftly the influence of good works is felt. J
have more than once found biassed people who from
certain mixed pieces had contracted a great rever
ence for certain modern musicians. These I caused to
be sung, having before selected some pieces by Lasso,
Palestrina, Lotti, and Sebastian Bach, hardly of a
deep but of a pure and dignified description. The
question was answered in an instant, and never did i
find such an experiment to fail. An event which
actually took place, to my great satisfaction, was as
follows : A young man came to me full of wrongideas
;and after listening to a Mass by Lotti,
said, excitedly :"
To-night I can bear ill-will
to none." Results like this could often be
observed if people desired them, and would not
clmg with such pitiful obstinacy to the fashion oi
the day. Mediocre works have their place if only
they be healthy and unaffected. We are not inclined
to read the Psalms or Homer at all times of the day.Men want variety to entertain them, and help to passthe time without mental effort. A large proportion of
the public have neither taste nor understanding for
Anything above mediocrity. So I should not ba
Puritv in Music.
disposed to criticise so harshly certain songs now
fashionable, as some have done. I simply ask those
who can only understand and appreciate indifferent
music to abstain from judging works of genius, and
not to expect masterpieces like the "
Merry Wives of
Windsor " and " Don Quixote" from the same pen as
that which wrote " The Provincials," and " The Bard
with the Iron Helm." By all this I desire to warn againsta certain narrow prejudice which is seen on every hand.
For example, if a student has mastered certain pieces
and derives pleasure from them, he is apt, for that
very reason, to think them more beautiful than all
others, and is very likely to be offended if it is hinted
that others are more beautiful. Such bigotry is
destructive in the highest degree. Music is really a
matter of taste, but taste is formed slowly. Test it
by Painting and Poetry. That which delighted the
child, fails to please the young man ;what pleased
the young man, the grown man often considers poorand faulty. By such trials and comparisons we shall
ultimately find the truly classical, and obtain a
happy repose, because its properties are such that it
can be heard over and over again, and rather gains
than loses by the process. So if there has been
hitherto a person of but little culture, it is impossible
to say where an educated taste may eventually guide
him;and it is mere idleness, or faintheartedness, to
presume on the unknown from what is known, and
obstinately refuse to step further. No wisdom can
lie in such conduct when one possessed of full
knowledge places in your hands that which is of the
highest importance, and in this way excludes every
thing mediocre and valueless a great educational
boon. However, in the case of Music, it is not often
Purity in Music. 51
that such a teacher is handy, and many trials must
be made before the object is accomplished. Ambition is not iuclined to confess its mistakes; but what
weakness can there be in the assertion," What a
booby I was, up to such and such a year !" if happily
you can add," But how much better I am now ?"
V.
EFFECT.
ENTHUSIASTIC admirers of modern art pride them
selves particularly on their attempts to produce what
they call effect, as a special feature in modern music ;
but it is just here that the lover of true art discovers
most ground of criticism, because this favourite effect
either shows an unskilful workman, or else a
panderer who tries to serve and please all. Nature
does not work by fits and starts, nor do our emotions
in their natural condition shift irregularly, or go
beyond their appointed limits. So your favourite
symphonies, fantasias, pot-pourris, &c.. are often the
most ridiculous things in the world. First a doubtful
introduction, then a tremendous crash, an abrupt
silence, some unlooked-for dance movement, then, to
sustain the excitement by an equally happy idea,
swift modulation to the deep and sorrowful. Thencomes a tempest from amid which we shift after a
tantalising rest to a merry strain, and then at the
end a noisy burst of applause in which every one
congratulates every one else with tremendous warmth.All this is liked, it is true, but why ? The truth is justthis : Few are capable of
<ving serious and steadyE 2
52 Purity in Music.
attention to anything great, even though Love himself
wooed them. When a mixed programme is placedin the hands of a mixed audience, each finds some
thing to suit him, and as he gets the needed rest
during the intervals, he will willingly allow his fellow-
auditors to enjoy the objects of their regard. If a
glance is taken at the operas and concerts, one
generally finds the ladies criticising the dresses, and
the men ogling the young ladies, while the piece theywish for is being approached, and then the minute
that love and dancing begin every pleasure-seeking
eye is bent on the performers. In Milan, where
people are not used to place so much restraint on their
feelings as in Germany, it has long been a custom for
people of culture to beguile the time, without cere
mony, with card-playing, but directly any phraseof the music, or any feat of vocal gymnastics attracts
their notice, to applaud vehemently. A great German
player, whom I told plainly, after a concert, that he
had performed an indifferent piece inimitably well,
confessed with laughter that the compositions he had
written for the public were not worth a charge of
powder.The principal cause of such unnatural combinations
is clearly this, that so very few musicians possess the
intellect and the parts necessary to a complete in
spiration in their art. When Handel soars aloft, it
is as the eagle on the wing for his heavenward
flight; but many of our popular favourites who rise with
difficulty to the mountain heights turn dizzy, and
retreat home on foot. Where Handel, knowing no
limit to his power, has just made a beginning to a
splendid chorus, there modern invention usually finds
a limit, and tries to eke itself out by repeating a
Purify in Music. 5.3
phrase, perhaps a couple of tones higher, or to hide
its barrenness by recitatives, metrical passages, and
other expedients; while again Handel, with a few
masterly strokes, finishes his passages of grief or
heroism, modern mediocrity is obliged to whine and
whimper on. The worst is that under the speciousname of effect, most deadly poison is offered in the
shape of spasmodic and strained music this roaring
and tumultuous confusion of tones rousing all that
is ignoble in man, and threatening ultimately to efface
all true taste for music. How is it possible to have
patience, when it is announced with much pride that a Te
Deum is to be rendered in Church, assisted by eighty
drums, or when, as recently in one of the first cities of
Germany, the banging, drumming, and screaming, at
an Opera House was so great, that an excellent
critic of classical music, on coming out just as forty
drummers passed beating the Tattoo, could not help
saying," Thank Heaven we have soft music once
again !" If this kind of thing lasts the inevitable
results will be that at our musical entertainments weshall never be able to eat our melon without cayenne
pepper, and like the Russians, will have to give up
brandy for aquafortis. Nothing can be done but to
place these senseless musical gormandizers and inebri
ates on fast, in order to restore their shattered nerves,
and rescue from annihilation a taste for pure music
and those fine sensibilities which music elevates, but
which cannot be dragged into and yoked with vulgar
extravagance. I would not have it supposed in sayingthis that I confine my affection to soft music entirely.Music should mirror all conditions of sense, feeling,
and emotion, but it should do so poetically, and not
show their deformity, but their freedom and vigour.
54. Purity in Music,
Show your temper if you \\ili, but do not foam at
the mouth;let love burn as it can with fierce con
suming fire, but not so that the lover should, as re
cently acted, expire in the midst of her passionate
pleading with an agile skip. What the German peo
ple have borne of this kind of foolery is incredible.
Most of our virtuous maidens, if they knew what theyoften listen to, or themselves play and sing, and for
what purposes one of the most popular composerswith unique and great skill wrote several pieces,
would be filled with shame and indignation. The
only laymen who have as yet checked these abuses
are certain peasants in South Germany, who morethan once complained strongly to the priest of
their having to listen to the organist s playingof some low song among his light and flashyselections. But however great the lamentations of
lovers of healthy, ennobling music may be over its
unnatural perversions, they will hardl} do any goodas regards oratorio and opera, because fashionable
society is in a high state of ferment, because noisy and
exciting music often suits well with poetry and
philosophy itself, and also because the people look
with favour upon the license that is taken for a
certain amount of freedom and looseness when it is
done under the name of genius. Yet in the case of
Church music, properly so called, this passion for
effect can still be checked; for, as before stated, the
Church has nothing to say to the promptings of
passion and its concomitants. Besides, we may be
sure that those who are warmly attached to the
Church will joyfully welcome a fit style of Church
music, for the sense of what is fitting for the Church
is by no means extinct, and it will be found that those
Purity in Music. 55
pastors who are not satisfied with the poetry ot the
Psalms of David, but use verses from modern poems,or merely announce from the pulpit the name of a
modern poet, always cause great annoyance.It happens unfortunately, however, that musicians
themselves are almost without exception opposed to
advancement in this direction;for it frequently
happens that they can only play or compose forms
of music of a profane or light character, and laymenwho are disposed to object, are bluntly told that theyunderstand nothing about it. Just as we Germans
have a habit of referring all solecisms to an invariable
rule, so our musicians are always prepared with
arguments to show that black is white. Thus things
have come to this that the very compositions which
are the peculiar property of the Church are dismissed
haughtily in the name of self-styled science. Thewhole mass of Ancient Church Music is now infested
by these ill-grounded and unwarrantable fears on the
part of theorists amongst other pieces, the Misereres
of Allegri and Bai, which are the stock performancesof Holy Week in the Sistine Chapel, arid which never
fail to make the profoundest impression on the
hearers. And it was for this latter reason that Mozart
journeyed to Rome for the purpose of possessing the
music which had never before been intrusted to
anybody. The fact that, having been secretly sent to
the Emperorjoseph II., they were not liked in Vienna, is
to be accounted for by both singers and audience being
prejudiced against them. That persons professing to
have knowledge of music could so superciliously reject
these beautiful compositions, after they had been
called attention to by Burney at any rate in their
main features, as is seen from other copies and
56 Purity in Music*
could actually throw them away for their want of
rhythm, or because their harmony is restricted to the
common chord, is one of those inexplicable things to
be bemoaned by lovers of true Church music, as muchas the recently threatened extinction of the chorale
itself. I can only express myself as I have done else
where, and again I say : Can it be explained whygrand compositions founded upon such a profoundideal should be thus coldly rejected ? Their ideal is
this, that the satisfaction of a soul, with a sense of
resignation and blessedness, must rest in what is
smooth and free, oft and oft recurring to it, and stay
ing with it. Never did any man of good feeling, whoin earnest thought gazed on the setting sun, or to
whose soul the song of the nightingale, or a spring
evening, or the sighing of the wind through the trees,
called up sadder thoughts and fancies never did
such a man complain of monotony and advocate the
ornamentation of nature. It is strictly in accordance
with this grand conception that those Misereres were
composed, perfectly according with the prayer,"
Lord,have mercy upon us," spoken in all honesty and
humility. There is in them, consequently, no strivingafter novel effect from mere love of such, but the
subject of the piece is worked out in frequently re
curring plain song : and it is the modest beauty of
these alternations, with the same guiding principle
running thoughout, that appeals to those prayerfulconditions of mind which are moved but not flurried.
Why is it that people will not now have more of that
which never tires ? I have in my possession twenty" Cantus Populi in Processione Palmarum "
by Lasso,from the Library at Paris, written throughout in this
very style, which, when correctly rendered by a
Purity in MUMC.
devotional choir, must produce the deepest impres
sion, written as they are in the common chord,
showing in every part the tenderest feeling, and last,
but not least, always following the same leading ideal.
The same may be traced in hundreds of pieces of
the old Church style, and thus there still remains to
the lover of good music, the comforting thought that
the principles, uniformly followed by so many classi
cal composers, must have a solid basis, and at anyrate deserve more attention than the confusing follies
whereby people would now-a-days feign the possession of genius.
I have frequently seen musicians shrug their
shoulders if a piece possesses no instrumental score,
and I have heard none the less frequently an immense
deal about the necessity of altering this and that
orchestral part, and heard heaven thanked that the
instrumentation of our day is as it is, and that the
science of it had never been mastered till now. ButI do not remember having heard that this instru
mentation has done much lor the lawful objects of
proper music; on the contrary, my old friend Luther
says,"
Singing is the best art and employment.It has nought to do with the world, and is subject to
no tribunals or lawsuits. Singers are never sorrowful,
but are merry and smile their troubles in song." So,
later on, he says," Music is, so to speak, a dis
ciplinarian as well as a mistress, making people
kinder, gentler, more staid and reasonable. Badfiddlers and violinists show us what a fine art music
really is;
for white shows plainer in contrast with
black." We will then examine the subject closer,
especially in regard to the true Church music. Nosensible man will deny but that instruments have
Purity in Music.
a great and peculiar advantage, as they can be more
easily manipulated than the human voice, possess a
greater range, and thus help us to increase indefinitely
the variety of music; but there is a time and place
for all things, and musicians as well as others must
obey this rule. Our chief churches are high and
ample edifices, which can only be adequately filled bytones having fulness, power, and resonance. This is
just the common failing of all but a few wind instru
ments, with the noteworthy exception of the trombone,which imitates the voice in the sonorous tone it pro
duces, and therefore has always been a church
instrument. Strings are a great deal too thin for a
church, and so are flutes. A dozen good voices could
drown fifty such instruments in a church;and when
voices have a clear and correct intonation, it is well
nigh offensive to the ear to add instruments. It was
very likely from this that Pythagoras compared the
ring of metal to the cry of an imprisoned spirit. If
we are to amuse ourselves with playing pranks, and
as is often done now, importune the Almighty with
drums and fifes as though we could be happy without
Him, the less said about art the better;but as far as
concerns worship, humility, and that sober joy andsatisfaction of the inner man which alone becomethe House of God, then it should be by the tongue
only that the feelings of the heart should be conveyed.Allow for a moment that a pianissimo can best be
performed by instruments, which point has been mademuch of; but for devotional purposes we no more
require sickly sentimentality than we do the fashion
able death-scenes and glaring eyeballs. The tone of
the Jew s harp more than any other instrument fades
away into nothing ; but I would much sooner hear it
Purity in Music, 59
in a musical box than in a church. It. has often been
remarked, and rightly so, that the vocal performancesof concert-singers are out of place in church. On the
other hand I willingly confess that the Papal choir
would be incompetent to take part in a military march,
a tattoo, parade music, or even in the last popular
song, which starts with muffled drums, and then
goes, when the third bar is reached, not to forte or
double forte but to fortissimo. A circumstance
very much to the purpose occurred in Paris not
long ago, which should be instructive. At Napoleon s
coronation the Parisians desired to distinguish them
selves by unique music, and the church was filled
with an orchestra of eighty harps far outnumberingDavid. The performance made an enormous sen
sation. Directly afterwards the Pope entered the
church, and was received with Scarlatti s grand" Thou
art Peter!" from about thirty voices brought from
Rome, to the complete annihilation of the previouseffect. I was informed by an eye-witness that if anyone alluded to their eighty harps, the Parisians
regarded it as an insult. If no satisfactory reason
had existed for excluding instruments from the Church,the grand old masters who worked so heartily for the
Church would have used them;but as a rule they do
not so at all. Accompaniments and interludes only
began to be thought of when the vocal music of the
Church became merged in the oratorio style, and then
the practice spread rapidly, especially as ultimatelyeven the oratorio style was pressed into the service.
Fortunately there are two churches where the grandeurof pure vocal music is retained in its inherent purity
the Sistine Chapel is one, and the Imperial Church
at St. Petersburg the other. These have always been r
60 Puritv in Music.
and no\v are, the admiration as well of those whounderstand music as those who do not, simply
through the music performed there ; and only very
recently a German musician who had been to Rome,and had no bias towards the Romish Church, but
quite the contrary, told me that he had for the first
time found out what the perfection of sacred musicwas from the service of the Sistine Chapel.
I do not for an instant deny the peculiar charm of
instruments in certain cases. I do not deny, for
example, that gracefulness and celerity, romping,bustling, noise, and dancing may be a more suitable
subject a thousand times so if you choose for
instruments than for the voice. Let us put all thingsin their place. Brilliant red and yellow are very
pretty colours : but we could not endure a picture of
Christ clothed in a bright yellow robe with a rose-
coloured girdle. Any one in church who devoutly]listens to well-known instrumental pieces will alwaysfind that as soon as ever the instruments set to workjlthe world fills his thoughts. And why ? Because
people are only too glad to be reminded in church of
things which please them outside of it. But the worstof it is that instruments have lately been employed in
church to point a climax, suggestive of orgies ; that
an Amen or a Hallelujah or a Gloria have been
accompanied by the thunder of drums and the roar of
trumpets ; and even with all this, resort has often beenhad to guns and cannon fired in the neighbourhoodof the church. When we praise God there should be
no space for aught beside the thought that we are
standing before God s Throne. How is it possible to
figure a congregation entering Heaven with notes of
praise, employing first their timbrels and trumpets,
Purity in Music. 61
after them a train of noisv artillery, and then drawingnear to God s Throne, bounding forward with profane
plaudits ?
It is indeed remarkable how apt we are to overlook
the good we possess and to pursue what is wrong ;for
within the church there is the united voice of the
people, at once the simplest and grandest of all aids
for attaining a climax fit for the divine service. If
Hallelujah, Amen, be chanted by the choir from the
organ loft or chancel, and then if the entire congre
gation repeat the words after them, one might imagineoneself transported to Heaven, and realise that such
is the mode of the worship of God in Heaven. St.
Chrysostom, in his discourse on the 4ist Psalm, has
said much that is good bearing upon this subject ; but
he proceeds to speak of a purified mind and self-
mortification, and so, alas ! of virtues to which our
unsteady bewildered amateurs are strangers. In
consequence of this it is not fit to say to them as
Chrysostom did to his well-trained singers," When
you are in God s choir you may regard yourselves as
at David s side. There no zithers or strings are
wanted." Yet it must be confessed that with our
present choirs but little can be attained. Utterly
ignoring the example and instructions of Gregory in
the Roman Church, and Luther in the Protestant,
we have scarcely done anything lately in Germanyfor a supply of good voices ; and even the singers
whom we could have commanded have been allowed
to disperse, partly, as I know for a fact, because the
music is said to clash with the sermon, although it is
clear that sermons containing any merit could only
gain if hearts were assisted to devotion by good and
truly religious music. We shall have, however, to
62 Purity in Music.
consider the subject of instrumentation more expli
citly without regard to time or place.
The favourite method seems to be to keep the
instruments continually at work. It is quite natural
that a timid composer, who cannot stand the frowns
of players obliged to be silent for a time, should be
governed by this consideration, and this is probablythe secret of the origin of a French opera, which
during the last ten years has been performed in
Germany times without number, in the overture to
which all the singers strike up together. Yet althougheven a lover of art can occasionally in an hour of
leisure heartily enjoy this kind of thing, seeing that
its mere absurdity renders it innocuous, it is necessaryto protest most firmly against its becoming a pre
cedent. As with the voice, each class has its own
qualities heavy passages being suited for a bass;
finished, feeling, or fanciful ones for a tenor or
soprano; and sad, pathetic ones for a contralto so,
likewise, each instrument has its own special use.
The trombone may perhaps sound in Heaven, but on
earth never, to a soft amorous air; and the light flute
must keep silence when a heavier toned instrument
speaks, and may fitly be linked with the viola. For
example I would give Handel s wonderful " DeadMarch in Saul," the composition of one who worked
with the power of a giant, and allotted with true
instinct to each voice its fitting melody, who knewand often used all the instruments of the present
time, and who, it may consequently be assumed, had
good reasons when he did not employ one of the
usual instruments. In the first bars of this march the
flutes are quite silent;then they are heard, then they
break off, but soon re-enter and assert themselves
Purity in Music. 63
until the end. The reason is plain that Handel, with
his great and hearty soul, treats sorrow with tender
respect, but does not leave us in unmanly despon
dency ; and therefore, as a friend comforting and
sustaining, he weeps with those that weep, but at last
shows us the sunlight; and thus it is that, after
listening to one of his funeral choruses, we often feel
more self-composed and happy than after the most
lively effusions of modern sentimentality. Thus the
march commences with the utter dejection of grief
which the entry of the flutes endeavours to enliven ;
and after a relapse, which is quite in accord with
human nature, the flutes accompany the mourners to
the end. This is as clear as the day. In spite of this
I have heard a performance of this piece, specially
arranged for effect, where the flutes from the first were
forced into inevitable collision with the heavier wind
instruments, and by sheer sweetness spoilt the whole
thing. As regards this, however, it may be said that
Handel s works are beyond being utterly spoilt, and
so on the occasion in question the audience were verywell pleased. Assuming that modern instrumentation
deserves particular praise, it should be proved that
the providing of suitable accompaniments has been
undertaken with energy and success; but the evidence
on this point is very shaky. The way in which
rocking, rolling, jerking, and noisy accompanimentsare associated with the gentlest and most pensive
melodies, proves plainly the total want of taste. Songaccompaniments are often actually distressing what
would be effective elsewhere being often clumsily set
in the wrong place. For example take a Continue, as
it is called, where the bass acts independently with a
marked and rapid movement. Under some circum-
64 Purify in Music.
stances this has a fine effect, its result in a grand
passage being to inspire the singers and help them in
their flights. It has been thus used by Durante in
his Magnificat, by Caldara in a " Lauda Sion Salva-
torem," and by Handel in " But the waters." Beguiled
by this device, a modern composer has in an oratorio
given us a Continue by way of help to a supplicatory
duet by tenors, which rushes like a storm-wind, and
can only be appreciated by omitting the voice parts.
Even Mozart, with his wonderfully fine taste, has in
this respect quite forgotten himself, as only his blind
worshippers fail to see. This is specially so in his
edition of the "
Messiah" where, more than anywhere,he should have had the greatest caution. Every pageexhibits such overloading and interpolating as would
without doubt have been judged misplaced by the" Messiah s" immortal author. I shall only speak, by
way of example, of the fine bass air," The people
that walked in darkness." This inimitable piece is
serious throughout, and requires corresponding soli
dity in the accompaniment. Hence, Handel uses
violins and basses only, by which he assuredly does
not intend a pair of thin violins and one bass player,
but as much support as the vocalist can bear, a
hundred instruments, if you like, if the singer has the
lungs of a giant. Yet Mozart has called to his aid
flutes, clarionets and bassoons. They enter at the
fourth bar as if some one had to be roused from
sleep, and then again at the words," A great light,"
and are then silent, again return, and so on. It maybe said that this is but a new illustration of Mozart s-
genius ;but he has murdered Handel in this passage,
and destroyed the whole conception of the solo. The
soul-stirring bass air," For this mortal," has suffered
Purity in Music. 65
in like manner by Schwenck s pianoforte setting.
Mozart has for some unknown reason left it out;
Schwenck restored it, with a peculiar and restless
accompaniment which may tax the skill of a good
pianist, but is out of all keeping with the serious
nature of the piece. The practice of filling up nowfollowed has been alleged to be necessary in the case
of Handel s oratorio scores, on the ground that he
assisted the performance of his works so well by his
masterly organ play. Then why do we not endeavour
to attain the same masterly rendering under those
very circumstances which gave to his oratorios their
original fulness and dignity ? Can we suppose that
Handel, when playing the organ, showed himself off
and spoilt his own work ? This I do believe, that at
the parts where in the vocal score we see the short
direction," full organ," a power of tone was to be
heard when Handel played such a volume of sound as
a thousand fiddlers or flautists could not now repro
duce. To sum up the whole matter, who would ever
think of decking out a Homer, or a Dante, or a
Shakespeare in a modern costume ? Finally, I sayto all lovers of truth :
" If it be insisted on that no
good can come without instrumental aids, let us al
any rate have something better than is usually offered.
Let us not have, I say, a row of players half like
stocks incapable of grasping the spirit of a piece,
giving no attention to the voices, careful only to makethemselves heard, and regardless of the quality of
tone they produce. Better to have only three
choristers in church than charlatans who bringdiscredit on music. For this reason I firmly believe
that Handel s oratorios, if not given in a church, noron the other hand in a theatre, but in a good hall
F
66 Purity in Music.
with not too many singers and an efficient pianoforte
accompaniment, would sound far more impressivethan if supported by a bad orchestra. Yet I freely
confess that a clear and ample instrumental accom
paniment, such as Handel himself used, must increase
twofold the effectiveness of his works. But in men
tioning a pianoforte accompaniment, I am assumingthe player to be no blunderer, that he does not strum
through his part, or lose sight of the voices, or endea
vour to create a sensation by rapid fingering, but has,
as it were, all the voices in his ten fingers, helps themwherever they hesitate, and occupies his right handwith the full tones of the middle octaves as much as
possible, always striving by playing the chords fully
to make it easily felt what key a particular passage is
in. For this reason I much condemn the pianoforte
arrangements which are now in such favour; for the /
high notes, which are full and melodious when string
and wind instruments are used, become in the sameoctave on the key-board a wretched jingle, in addition
to which these arrangements prevent a close attention
to the score, without which no good can be done. If
Handel had foreseen the possibility of his " Messiah "
being performed without full organ and orchestral
accompaniment, and merely with the pianoforte, and
had he written an accompaniment for this special
purpose, it would certainly have been something quite
different from Schwenck s plethoric arrangement,much as we may praise his exemplary truthfulness.
Highly as we may value and laud the orchestra, wemust never proceed to such lengths as to wink at the
offence lately so frequent of utterly ignoring the voices
in church music, and allowing an unnecessary and
meddlesome predominance to the instruments. I
Purity in Music. 67
shall not name living German composers, as that
might be regarded as personal, but shall only mention
a foreigner of the present day a man of much genius,and whom these thoughts are not likely to reach,
namely, Cherubini. Peruse his sacred productions,and a little thought will at once show that his accom
paniments clash with his vocal parts. Yet his fame
as a writer of operas has hitherto blinded his admirers
to his failings in church music ; although he himself
would scarcely set much value on these compositions,but would most likely complain of having been the
victim of the wretched Parisian taste, as he is the
very man who promoted the recent issue of old Italian
works, and particularly of Marcello s great Psalm-
book;and I am told he always has Palestrina by his
side. Following the example of the great old masters
he has set the Creed for eight voices, a work whichfills a whole folio, and contains some inimitable pieces,but never in the printer s hands, because the gayParisians could not appreciate it, and were unworthyof it ;
and the whole of this excellent composition is
planned for voices only.
VI.
ON JUDGING THE WORKS OF GREAT MASTERS.
IT cannot be denied that in one manner an immensework is being accomplished in Germany for music at
this time more so than in Italy, the home of someimmortal composers ;
in other words, we are workingvery zealously to acquire execution, and those whoare complete adepts in crossing the hands and inter
twining the fingers, sacrifice even physical and mentalF 2
.. 63 Purity in Music.
health in attempting the impossible. It is from this
cause that those who attain to a certain excellence of
execution are frequently very peevish and capricious,
enthusiastically lauding the merits of their favourite
works, but utterly incapable of forming an intelligent
opinion of the real worth of a composer. This is
always the case when the essence of a thing is lost
sight of; and yet how easy is it to find the true road 1
It can be of no use to us to stand gaping at a player s
fingers or to see worthless pieces marvellously com
plicated, but it is the ear that ought to be interested,
regardless of any mechanical obstacles in the way.It is possibly excusable in wandering performers to
play the safest game in their tours, and to parade the
utmost of which they are capable, and nothing less;
because as a rule the public would sooner see a rope-
dancer stand on his head than set patterns of form by
graceful and easy motions ; but it grieves one exceed
ingly that on every hand time, wealth, and health
should be cast aside for the acquisition of that which
is meaningless and void of value ;and that from the
continued strife after startling effects the art of per
forming simple pieces with feeling, delicacy, and good
phrasing should well nigh be utterly lost. The music
now fashionable possesses no sort of moral influence
whatever except the encouragement of vanity and of
devotion to pleasure and the dance. There is but this
consolation, that when the time of childhood and
pleasure-seeking is past, these tours de force are cast
aside, and those who were so happy as to learn in
youth soothing, beautiful, and elevating melodies,
retain ibr them even to extreme old age the happiest
recollections. This present state of things may help
us to understand the regrets of the Greek writers as to
Purity in Music. 69
the prejudicial effect of *heir later music ;and one
might well wish to return to the school referred to by
Aristophanes in his "
Clouds," where the boys were
taught to sing the songs of their ancestors slowly
and carefully, and got some hard raps if they attemptedto ornament them. The error of overdoing things is
far more common in our day than it was in that of
our forefathers, for we have a greater variety of in
struments, and each one possesses properties peculiar
to itself. Yet nothing is regarded as beyond the
power of an instrument;
and performers seem to
prefer being heard when their instruments outgo their
respective provinces or exhibit their weakest points.
The Jews -harp and French horn must be made to
perform rapid runs like a violin, the violin imitates the
poverty of the pianoforte, the trumpet must needs be
tender as the flute, and even the ancient cumbersomedouble bass has recently tried to imitate the graceful
points of every kind of instrument. This audacious
excess has even invaded the region of the voice, and
it is evident many composers care not a straw where
mortal basses, tenors, altos and sopranos have their
limit. For example, it is certain that the normal alto
which goes down to (|
cannot easily rise
above Szzp and yet E flat, E natural, F, and
t ;
yet more are often demanded of them, even by C. P. E.
Bach in his "
Holy, Holy, Holy !" yet in such a
manner as to allow of remedy, for he does not take the
altos below mizr-r ,so that this part can be sung by
the second soprano. Choirmasters even, who were all
70 Purity in Music.
in favour of the modern style, have more than once
expressed their regret to me at such license; but from
whence is the abuse ? It has never been coun
tenanced by our great old writers. How well fitted
to each voice is Handel s score, and how particular in
this respect were even the most brilliant Italian com
posers, like Caldara, Marcello, and Durante, althoughas a rule Italian voices are higher, deeper, and clearer
than are German. Durante was moderate in every
thing, even when writing for practice ;and sought, like
a very Mephistopheles, to lay all manner of pitfalls for
his female singers; namely, in his twelve duets for
soprano and alto, eighteen duets for sol-faing for
soprano and bass, in his " Lezione del Venerdi
Santo"
for soprano, and in the seven Cantate Morali
for contralto. Seeing that our composers have not
the plea, as had Hasse, that their Faustinas can reach
anything ; and as they compose for those whosename is legion, such extravagances must be utterly
condemned, whatever excuses are made, for pedantryis one of our distinguishing characteristics and leads
us to confuse causes and results. So what is really
only a part of training must needs be shown in public,,
and thus, of course, arises the evil in question. Anyone who desires to sing a high note perfectly oughtto be able to sing a few notes higher. These extreme
notes must certainly be practised; but afterwards theycan have no legitimate place in a performance that
must be without blemish; just as the dancing-masters
of Paris place leaden soles on the feet of the chil
dren some hours before they dance, and then at the
time of performance remove the weight and so secure
the utmost facility for the performance ; but our
musicians are only too apt to let their leaden soles-
Purity in Music. 71
remain on as parts of the costume, and so bravura
exercises, which might have fitted a performer to
render works of simplicity and of genuine feeling, are
made as a rule to usurp their place. The real founda
tion of musical knowledge simple thorough-bass is,
despite all good theoretical works, often most unwar
rantably neglected, not only by amateurs but even bymusic masters, preceptors, and organists, thoughthere is no doubt that a keen sense of harmony can
only be adequately formed by thorough-bass, and
even that perfect ease and sureness of execution are
impossible without it. Our musicians, unfortunately
engrossed in their artificial manipulations, frequentlylose sight of the essence of music and the dignityof their art, and think by display to pretend to the possession of talent. This pretension is now the curse
of every craft, for it estranges us from labour ; and
without labour, trouble, and pain nothing can succeed.
To find the real essence of music a man must examine
full scores carefully ; must with vocal passages singthem over himself, going from part to part, in order to
see where the gist of the music lies; and he must
try to render himself familiar with the great masters
in their entirety. It is the peculiarity of great
geniuses that they do not, as do mediocre composers,
keep a uniform level, but tire at times when the soul
requires rest to recover from a grand creative effort.
Hume in one place compares Frenchmen to cucum
bers, which are a good fruit, but all much alike ;
Englishmen, he says, are like melons, five out of ten
may be cast aside as good for nothing, but the rest
are all the more delightful; and so it is frequentlywith the works of great composers. Young musicians
will be led astray if they make their estimate from any
7-2 Purity in Music.
one piece, and do not trouble to make themselves
acquainted with the entirety of their author. I look
upon Palestrina as a very angel among composers,but I possess six of his Masses which contain nothing
worthy of special attention ; yet I consider his Missa
Paps Marcelli a grand work of art, and many other
compositions of his as quite unique and unsurpassed.This may be said of Caldara, Lotti, Durante, and
others, and even of Handel himself, as he wrote
rapidly, and often under pressure, was frequently men
tally worried, and was the victim of gout for some
years ; so that with some exceptions his operas and
oratorios may be compared to boxes of jewels
wrapped in wool;and I can only pity those who
impose on themselves the task of giving an entire
opera of Handel s as if they were thus doing some
thing wonderful. It is a notorious fact that our per
formers, composers, and music masters are, as a
rule, totally ignorant of every work above fifty yearsof age. While in every other pursuit poetry, painting,
and architecture, and the rest we work diligently to
bring to light the united productions of the great past
to make them plain and restore them to life, and the
masterpieces of the greatest musical composers are
doomed the while to lie buried, and it might be said
a laughing-stock to narrow minded ignorant praters ;
our musicians are not even moved by any worldly
curiosity and ambition. Luther, a man of the highest,
most natural spirit, was devoted heart and soul to
music. His chief favourite was Senffel. An old story
is told of him that one evening, after having had a
motett of SenrTel s sung, he cried in ecstasy," If I died
for it I could not compose a motett like that !" and yet
antiquarians of Lutheran bias take not the least pains
Purity in Music. 73
to get an idea of the style and method of this great
musician. It is even more unpardonable that, with
the exception of some attempts at Munich, literally
nothing has been done for Orlando di Lasso, the
change in whose name from the Flemish Roland Lass
into the soft Italian has not robbed him of German
energy; for in his time (he was born 1520, and died
1594) he was regarded not in Germany alone, but
in other countries as almost one of the world s
wonders. Called to Munich, he presided over a choir
of which Germany never had the like before, and is
hardly likely to see again. Most of his numerousworks were published and distributed over all Europe,and were highly esteemed. By the kindness of a
member of the Papal choir I possess a Mass of his
for four voices, upon the title-page of which the old
Roman copyists have written :" Hie est Lassus, qui
lassum recreat orbem "
(this is the weary one whorefreshes the weary world). Charles IX., in order to
obtain rest for his soul after the massacre of St. Bar
tholomew, caused Lassus to set the Penitential Psalmsto music. This great work still exists in the Libraryof Munich, adorned with gold and jewels, and portraits of the coiii posers of that age. Where, I would
ask, is the young musician who has journeyed thither
to study this and other works of this incomparable
composer there to be seen ? I should add that the
authorities of St. Mark of Venice might easily inscribe
on their little finger nails the names of Germanvirtuosi who during the paLt thirty years have
inquired there for the works of Lotti. But what is
totally inexcusable is the general neglect of Handel,whose works can be obtained without trouble in
English editions in full score, and in exact and easily
74 Purity in Music.
readable type, forming a most valuable treasury of
the most real and masterly music of nearly every
style. Handel is the Shakespeare of music, and is
fittingly laid near the great poet in Westminster
Abbey. At his ease in every kind of musical contri
vance to a degree rarely found, he stands up in all
kinds of musical form as an immortal example for
imitation fresh, lively, skilful, as though all were
play to him. In all styles, from the fond and playful
to the sublime, he has provided us with unexcelled
specimens of inspiration and culture. In the sober
music of the great church style alone he has achieved
little, because his associations and encouragementwere not such as to lead him thereto
; but of his
genius and skill in that sphere there is no doubt, as is
proved (not to mention more) by the first chorus in"
Susanna," and the chorus," The earth swallowed
them," in "
Israel." In Germany we generally hear
enumerated, first, the "
Messiah," next, possibly,
"Judas Maccabaeus,""
Samson,"" Alexander s
Feast," and quite lately, now that other pieces have
been arranged for the pianoforte to suit the unskilled,,
certain other compositions; but nothing is surer than
that Handel s works, if we refuse to single out for
censure some special part that is defective or indif
ferent, deserve to be described as a very ocean of
splendour. I shall not refer to his pianoforte works,,
nor to his more important instrumental pieces, which
together fill more than eighty folios ; nor to his forty
or fifty operas, some of which were received with
rapture even in Italy, but merely to those works
which were most congenial to his soaring spirit whencircumstances allowed it free play I refer to his
oratorios in the widest sense. His chamber duets*
Purity in Music. 75.
and cantatas, composed as early as 1710 to 1721, his
Grand Jubilate (Hundreth Psalm), Dettingen Te Deum,Utrecht Te Deum, and the twelve anthems written
for the Duke of Chandos, betray the giant power and
rare gifts of this mighty master. After the productionof these works he was caused by force of circum
stances to devote his attention well nigh entirely to*
the theatre;but after the appearance of " Esther
"
in
1731, his genius became more and more prone to
high flights. Now appear, prior to the "
Messiah,"
and containing without exception incomparable pas
sages,"
Deborah,""
Athalia,"" Acis and Galatea,"
" Alexander s Feast,"" Ode to St. Cecilia,"
" Israel
in Egypt"
(a work of infinite majesty),"
Allegro and
Penseroso,""
Saul," and other short pieces of a like
calibre. In 1741 and 1742 follow the wonderful and
transcendent "
Messiah" and " Samson;" yet is the
compact strength of the master in no way lessened byall this, but only just in motion ; for there come now in
swift succession and set with brilliant gems,"
Semele,"
"
Belshazzar," "Susanna," "Hercules," "Choice of
Hercules,"" Time and Truth,"
" The Occasional,"
"Joseph," "Judas Maccabaeus," "Joshua,""Alex
ander,""
Balus,""
Solomon," "Theodora," and, lastly,
"Jephtha,"so fast and animated as if his advancing
years were still inspired with the full strength of youthand manhood. Thus I give on the whole a hearty as
sent to all that the English writer, Busby, has recentlysaid of Handel in his "
History of Music," as follows:" As a man, Handel may justly be ranked among the
moral and pious ;as a scholar, with the general class
of the well educated; but, as a musician, he is above
all ranks, for no one ranks with him. His ideas hadnever any alliance with tameness or inanity ; his-
76 Purity in Music.
invention appears to have been always ready, rich,
and wonderfully accommodating to the subject he
had in hand, whether gay or serious, cheerful or
solemn, light or grand. Rewrote quickly; but the
motion of his pen could rarely keep pace with the
rapidity of his imagination ;and most of his finest
thoughts were the birth of a moment. For the most
part he is very original, and where he shines the
brightest the lustre is uniformly his own ; yet whatever he appropriates he improves. It has been said
of him as of Cicero, that whatever he touched he
turned to gold ;but it might with more correctness
be affirmed that his judgment rejected what was not
originally gold, and that the gold he borrowed he
refined. In some composers we find sweetness, in
others grace; in these tenderness, in those dignity;here we feel the sentiment and force of character
proper to the theatre, there we are struck with the
grandeur and solemnity claimed by the service of the
Church; but in Handel we discover all these properties,
and what indisputably entitles him to pre-eminence over
all other musicians, ancient and modern, is the truth
that, while he equals all others in every way but one, in
that one he transcends them all : his mellifluous soft
ness and dignified mirth, fire, energy and purity of
pathos, have been approached by various masters ;
but to his sublimity no one has been able to soar. WhileI listen to his Hallelujah Chorus in the *
Messiah, hi?
Horse and Rider in Israel in Egypt, or the
nobler portions of his Dettingen Te Deum, the massygrandeur appeals not only to my ear but to my soul ;
it seems even to excite another sense : I see the glorythat is celebrated, and am profane enough to extend
its mirage to the composer."
Purity in Music. 77
Any one who is acquainted with the principal works
of Lasso, Palestrina, Lotti, and Sebastian Bach, must
certainly pronounce this last dictum, as far as it
excludes all other composers, an exaggeration ; but
an exaggeration may easily be pardoned where the
object of admiration is not itself over praised, and
when it comes from such a right appreciation of the
great and true. In concluding I beg leave to offer
to my fellow-countrymen a few remarks on the
arrangements of the oratorios of Handel.
In all these arrangements one of two objects mustbe had in view
;either to choose pieces for those who
cannot compass complete works (and this is generallythe case with choral societies) ;
or else to have a faith
ful representation of the original as written by its
author. To take an intermediate course by a method
of dismemberment and rearrangement is barefaced
presumption, which may perhaps be excused for once
in a Mozart, but in no one else. Who may stand
beside Handel, or should I not say, above Handel ?
And why should we obscure the original text and
supplant the free judgment of those whose taste
differs from ours ? These musical transformations
are as condemnable as Wieland s arbitrary version of
Shakespeare ; and let us hope for the honour of
musicians that such abuses will no longer have
apologists. I am aware indeed that my countrymenwill dare anything, but it is time we had done with
these perversions, for we have had enough of them.
Mozart treated the " Messiah " with the greatestfreedom ; not merely re-scoring it, but also omittingseveral airs, a whole chorus, and one of the best
recitatives, and also transposing fora bass an entire
passage which Handel had divided between bass and
78 Purity in Music.
soprano. So also in editions of the HundredthPsalm the fine alto lead has been cut about with
unsparing hand. Finally in the edition of " Samson "
issued by Marchetti in Vienna, Mosel has capped the
run of license. It is indeed difficult to believe that
this editor would have allowed himself the slightest
alteration of such a piece, inasmuch as Handel himself was in doubt whether he ought not to place" Samson "
even above the "
Messiah," so that it
ought to have been the primary obligation to avoid the
slightest falsification of the text. Yet what do we see
in this edition ? Good choruses are left out, the most
beautiful airs, duets, and recitatives are left out, a
poor translation is affixed, one of the finest bass
passages is reconstructed in order to fit the one that
follows, intermediate parts having been cut away, and
in the second chorus an interpolated Presto has been
forced into the thirty-first bar without rhyme or
reason. As a consequence, one can only connect this
Samson with the hero himself by figuring him with
his eyes put out and his hair cut off. If then selec
tions are used, they may be chosen according to your
taste, after previous counsel from some competent
musician, but be careful to choose the very best
specimens from the whole range of Handel s works.
They will form a sufficient supply for years for a
choral society that has only one evening free in the
week. If the requirements of connoisseurs are to be
suited, give everything withoutexception in its original
condition, particularly as all persons have moments of
abstraction and fail to catch on one day what they will
appreciate the next. This is especially true of works of
real genius, for the authors do not usually employ a uni
form standard. In addition, knowledge of a composer s
Purity in Music. 79
whoie nature, his faults as .veli as his virtues, is an in
dispensable condition to ajust estimate of him. Shake
speare and Cervantes show paradoxes, as do Durante
and Handel;but no man of understanding would desire
them away, as they give matters for thought, and
because the mere petulance of genius is well calculated
to show its commanding power.
VII
0N A LIBERAL JUDGMENT.
A comprehensive study of individual composers is
indispensable, although it may prove exceedingly
dangerous, because men seldom possess comprehensiveness of judgment, patience, and largeness of mind.
Thus they are much too anxious to be great in a
small circle, and affect an immense importance for
their own little ideas. This is an evil that exists
unhappily to a great extent in music. Followers of
Handel decline acquaintance with Mozart; those of
Mozart do the same with Handel; disciples of Bach
ignore Marcello, and so the foibles of each come to be
considered as paragons, blind worship causing less
trouble than thoughtful criticism. Even style is not
out of reach of this folly. It would be every whit as
wise to argue the respective beauties of crimson and
purple, or blue and green, as upon the questionwhether a love ditty is more beautiful than bravado,or a soft plaintive melody than a wild and vigorousone. Notwithstanding it always happens after a
mixed performance that instead of thanking God for
8o Purify in Music.
giving all forms of beauty, people worry themselves
to death as to which piece after all when properly
regarded, minutely examined, and probed to its
bottom is really the best, and then most likely are
much offended if others see no point in their obsti
nacy. It is impossible to give too strong a warning
against such wretched narrowness. Why when wefind ourselves in a country abounding in flowers of
all kinds should we be dazed by the beauty of one
only, and in place of seeking variety in our nosegayoverlook all others for the sake of one, or why at a
well-provided banquet should we refuse all manner of
good things from preference for one favourite dish ?
We deny ourselves the highest enjoyment in music
if we aim at annihilating every composer and every
style but one. As a rule each composer has his own
particular beauty ;and in this consists the infinite
power of perfect music that it can move, purify, and
elevate the heart and soul in all manner of ways.Graun (and as well Rolle and Homilius) had not the
genius of Handel, yet the devotional and simple
spirit of his " Death of Jesus"
will and must render
it immortal like Handel s "
Messiah." And again
Gluck most surely has not the exquisite refinement
and that frail and ethereal fragrance that characterises
Mozart;
but who would say that Mozart s works
were animated by the same fresh and sturdy instinct
.of romance that is so plain in every line of Gluck s
great writings ? I have before recorded in more than
one place my unbounded admiration for Palestrina,
yet I maintain he never could have created a Mozart s
Don Juan," any more than Homer could have
written Hamlet. On the other hand, I also assert
that Mozart could not have written the " Missa Papse
Purity in Music. 81
Marcelli," the "
Song of Solomon," the eight part
Magnificat and the Responsoria. As to what Mozart
might have produced under different circumstances I
cannot of course decide ;and it must be understood
that I only speak of the prevailing bias of his genius as
constantly shown in his works the very same groundon which rests my estimate of Palestrina. Nowand then the most splendid passages rest side by side
with deplorable failures. The tawdry weakness of
Marcello s Cantatas and his large collection of Psalms
is something alarming; yet where is a bolder com
poser, and where the style that shows the spirit of the
learned and stately Greek modes so well as Mar-
cello s ? We may rest assured that his countrymen,with a better average musical instinct than the
Germans, had good reasons for styling him their Pin
dar of Musicians.
But there is still another mischievous habit to fight
against in our conflict with one-sidedness, namely ;
national and even local exclusiveness, which has
always been an obstacle in the way, not of catchinga bad style and habit from foreign countries, but of
correctly judging their great works. In late years,
now that all that is German has become an object of
native admiration, this evil has largely multiplied, and
there are certain estimable young men I know whowill hear of no pictures or compositions but such as
are of German birth. Such well-intentioned obsti
nacy may be all very well where arms are in question ;
but in the realms of art and of science, and above all
of music, it is folly.
German music has many splendid and inimitable
productions to show of the first order of beauty, but
Italian music is so infinitely rich, of such peculiaru
82 Purity in Music.
genius, and so fully a reflection of the azure Italian
sky which gives all their works a characteristic charm,that to neglect their masterpieces, and as it were refuse
a journey to Naples and Sicily because we have
beautiful pine forests, can only be styled the most
thorough national pedantry. Have we arrived at this,
that in order to be consistent every one accordingas he may have been born is to have his own special
favourite in music, and as he may have been born
in Vienna or Berlin, to ignore Sebastian Bach, Handel,
Hasse, and Graun on the one hand, and Gluck, Haydn,Mozart, and Beethoven on the other? We frequently
hear ignorant and ridiculous statements as to Germanmusic being masculine and robust, and Italian merely
effeminate, but what if it were thus ? We alwaysbless Heaven for having given Adam a good-tempered
wife, and should we not smile if it were seriouslyasked whether a perfectly beautiful and educated
youth were a greater acquisition than a perfectly
beautiful and educated maiden ? But the chargerests upon a pure figment. It is quite the fact that
Italian music has frequently greater softness, delicacy,
grace, and heavenly purity than German music ; but
there are Italian composers who in vigour are not
behind the Germans. Durante is often more delicate
than iandel, yet we may safely place his " Dixit
Dominus "
beside Handel s Hundredth Psalm. Nor
again would Handel have allowed for a moment that
Alessandro Scarlatti was an effeminate composer; on
the contrary, in that very Hundredth Psalm he has
quoted from that great composer, even as Graun in
his " Death of Jesus" has borrowed from several of
Durante s pieces, heretofore unknown in Germany.Then let us, as did our own great composers in the
Purity in Music. 83
past, apply ourselves energetically to learn from
Italians not music alone, but liberality. Handel wasalmost adored in Italy, and one of his operas was per
formed at Florence twenty-seven times running.Hasse acquired in Rome, and holds till this day, the
title of " the divine Saxon," and was in many thingsimitated by Italians, and that they have never ceased
to honour Mozart is a well-known fact ;so then
should we for our part put aside all egotism and saywith Hasse " the divine Lotti," and with Sebastian
J3ach " the glorious Caldara."
VIII.
ON PERVERSIONS OF TEXT.
The false ideas of music prevailing at the presenttime are the principal causes of the increasing evil of
texts that are lacking in taste and often void of mean
ing. Music can have no better partner than fitting
words. A well-chosen text points the soul to objectswhich it is the calling of music to further embellish ;
and to choose an incongruous text would be as much
folly as to adorn a maiden s head with a dish in placeof a wreath. Is it not from the text that Cherubini s
beautiful " Water-carrier"
derives a portion of its
charm; and are not the grand words of Handel s
" Messiah "
quite unapproachable as a help to and en
hancement of the music ? In Zumsteg s "
Colma,"
his most successful work, it is apparent that the
declamatory worth of the text had a particular influence
on the music.G 2
84 Purity in Music.
I have nothing else to say of Opera. It is no better
than a feather in a whirlwind ; and all we can do is to
speculate as to when its extravagance will cease.
Serious music, however, is not so dependent on the
whims of blind fashion, and there is more hope of its
improvement as the taste for ancient verse, and so for
robust simplicity, increases.
It must be acknowledged that our esteemed countryman Klopstock has set a bad example in the way of
text-spoiling. We have no more solemn, or, I may say,
stupendous hymn than the " Stabat Mater." Everyword is as weighty as refined gold. Klopstock adaptedthe German text to Pergolesi s music, but how ?
" Stabat Mater dolorosa juxta crucem lacrimosa dum
pendebat Filius"
are thus given,"
Jesus Christ hungon the cross, downwards sank his bleeding head,
bleeding to the shades of death." The following
words,"
Cujus animam gementem, contristantem,
pertransivit gladius," are thus ornamented :" By the
Mediator s Cross stood distressfully Mary and John,His Mother and His friend. Through the Mother s
sad soul, yea through her very soul, pierced the sword,"
And in the whining and mincing manner runs the
whole passage. Only the " Amen "
is faithfully
rendered by another Amen. It may certainly be
remarked that if the first"grave"
is accepted, the
translation on the whole agrees with the music, but
on the point I must pronounce against both one and
another what has been very eloquently said byChateaubriand of the latter (Genius of Christianity,
vol. ii. pp. 5, 6.) :"
Pergolesi has shown in his Stabat
Mater all the resources of art, but has he surpassedthe Plain-song of the Church ? He has varied the
music at every verse notwithstanding that the essential.
Purity in Music. 85
character of sorrow lies in the repetition of the same
sentiment, and, so to speak, in the monotony of grief.
Tears may come from various causes, but they all
possess a common bitterness ; besides it is rarely that
people weep for a multitude of evils in the aggregate,and when wounds are many there is always one more
poignant than the others which ultimately absorbs
the lesser pains. Such is the secret of the charm of
the old French Romances. The same melody, re
peated at each couplet to different words, is a perfect
counterpart of nature. One who is distressed in mindallows his thoughts to wander over a variety of
subjects, while the foundation of his sorrow is alwaysone and the same. Now Pergolesi has failed to
recognise this truth which flows from the theory of
the passions ;for according to his treatment no one
mental sigh resembles the one that precedes it.
Wherever variety is found there is always distraction,
and wherever there is distraction sorrow comes to an
end."
Pitiable indeed is it to see so renowned a sacred
poet as Klopstock holding up to others so bad an
example ;but yet more sad, that many living com
posers should connive at the same thing, includingeven Beethoven, who with his great and original
genius should have been the last to employ anything of inferior quality. Yet how cramped, howtheatrical, how light, is the text of his oratorio,"" The Mount of Olives." But I pass this over,
because by the rules of modern fashion it has
become an almost unfailing rule that the materials
of oratorios and operas should come from a commonstock
;of which practice the work in question, I
fear, shows considerable evidence. But what has
86 Purity in Music.
Beethoven been content to do in his purely ecclesi
astical works, or at any rate what have others-
unworthily put upon him ? A reference to his Massin C for four voices (Op 86) will testify. The
opening words are quite simple but elevated in
sentiment when sung with unaffected fervour; and
because they are so sung the singer dwells with
satisfaction upon a single idea. In place of the old
"
Kyrie eleison, Christe Eleison," we find in this
Mass the following prosy poetry, and in which Christ
is quite left out. " Low in the dust we adore Thee,Eternal Ruler of the world, the Almighty one. Whocan name Thee, who understand Thee ? ThouInfinite ! Yea immeasurable, unspeakable in Thymight ! Like children lisp we the name of God."
The remarkable " Gloria in excelsis Deo," is againmixed with honey in the same way :
"
Praise, love,
and thanks be to Thee," and the simple" Et in terra
pax, hominibus bouse, voluntatis," is represented by" In silent awe we behold thy wonders, for by Thee
and through Thee, we exist, live, and breathe," and
and so it goes on ;so that we may picture to our
selves the great composer as being like Demosthenes,,
who studied the art of speaking while beside a great
waterfall with his mouth full of stones. It were
better to have a text of pure prose unfettered by rhymeor rhythm, yet plain and weighty if indeed there
must be a translation than this bombastic flowery
diction, quite unsuited for the Church. But the worst
trick is that played with Mozart s " Misericordias
Domini," a very methodical work, composed on a set
plan. The text consists, if I may so say, of two
short sentences " Misericordias Domini "
(the loving-
kindness of the Lord), and " Cantabo in aeternum,"
Purity in Music. 87
(I will sing for ever) but really of one only, for either" Misericordias Domini "
or " Cantabo in asternum "
must be considered the chief idea. If the former,
then the " Cantabo " must be subjected to it;but if
the latter, then a singer whose soul is in the music
must temper his joy with the idea of mercy. Whocould help laughing at a preacher who began softly
with "the mercy of the Lord," and then immediatelycontinued stentoriously "I sing for ever?" Yet for
the sake of producing an artist s favourite contrast
of colour to which even Handel sacrificed muchMozart has contrived that the " Misericordias
Domini" should be sung softly as a"grave,"
andthe " Cantabo in asternum
"
loudly, as a lively fugal
subject. When this is fully worked out, the "
grave"
returns, and then again the fugue. In the Germanedition commonly used, we find given us to singsuch pretty phrases as the following: In place of
"Misericordias Domini," "My praise ever ascends
to the Lord " and such like. Thus praise is changedto prayer, and humility into exultation. Thousandsof similar cases might be mentioned
;and on the
other hand, perhaps just as many cases where goodwords are coupled to totally unsuitable music. In
offering these observations I am by no means assert
ing that with the old Church music the text alwaysbreathes the spirit of poetry, or that the great old
composers always paid due attention to piose.
I am quite as well aware that the early hymns con
tain many unnecessary words as that musicians of
those times did not pay sufficient regard to metre ; but
I have a right to ask that the case should be fairly
judged as a whole; and I would, therefore, inquire
what sacred poems of our day approach the ancient
88 Purity in Music.
hymns in depth, in spirit, and fervour, or what modern
musicians of talent prove themselves masters of pro
sody? In addition this must be considered The words
must by their leading ideas directly influence the music,
but an exact quantity of each syllable cannot frequently
be observed owing the exigences of music: nay,
beyond a certain point it becomes actually pedantic
as it would in speech. A schoolmaster who made his
boys scan might make them read the Lord s Prayerin so correct a manner as to bring the long and short
syllables into marked contrast, but an earnest preacherwill be compelled in the heat of his declamation to
soften down much of this, just as in a recitation of a
poem we should expect as a matter of taste the
structure of the verse not to be brought too promi
nently into view. Therefore the strictures passed uponthe old composers entirely vanish when we regard
their truly inspired, sustained, and regular music, and
when they render with such refined feeling that the
text goes hand in hand with the music, yet not as if
it were the only object to impress on the notes the
length of each long and short syllable. The true
theory of music should aim, therefore, at selecting
with discretion such rules as shall reconcile dry prose
with emotional feeling. Such rules, I fear, have not
been as yet evolved in our day, though perhaps whena composition is most strictly constructed by rule, wesometimes see regularly moulded pieces with notes
accurately dotted and tailed, which no more show a
musical spirit than if a whole school were to pronouncetheir syllables i-j a given musical beat. Possibly,
however, in this last I am saying too much, and I
shall content myself with asking this question for myown information, Which of our modern theorists has
Purity in Music. 89
written exhaustive!)7 on the point whether the prosodyof each word is to govern the music, and are our
compositions to be such that a punctilious teacher of
grammar could set their periods ?
IX.
ORAL SOCIETIES.
Our public musical performances are subject to so
many potent influences, that no single individual can
make much progress in the removal of their defects.
Nothing less than actual unanimity will one day bringit about that, ashamed of the rubbish they should have
at first rejected, people will for the sake of changeonce again have recourse to lost treasures. Thematerials commanded by individuals are frequentlyinsufficient for the forming of more than a private
musical society ;and it is heartily to be desired that
such societies were established universally. They will
bring their own reward along with them, because a
faithful miniature copy has almost the same value as
the full-sized original, and the working talent and
sympathetic feeling of a small body may possibly
compensate for the absence of performances on a largescale. Besides there is good vocal part-music that is
heard to best advantage when sung by skilled performers in single parts. Latrobe, in the preface to
the third volume of his selection of sacred music
(London 1806), speaks rapturously of a musical familyin England, and remarks,
"
I have heard the best
vocal pieces of Handel and other great Masters
go Purity in Music.
rendered with greater precision and genuine feeling
in this family circle than one usually hears from
professed singers at a public performance." Private
societies may be formed for the performance of either
vocal or instrumental music. When the two are
united it is delightful in the highest degree, but at
the same time it is not easy to unite them in a joint
performance, and it can well be afforded that theyshould be independent of each other, for there is an
immense number of the most delightful pieces for
instruments alone, and a still larger number for the
voice. Vocal works which cannot confessedly be
performed without instrumental assistance, such as
Haydn s "
Creation," may be left to such localities as
rejoice in an abundance of varied musical talent ;but
this will still leave a large stock as the peculiar pro
perty of good private societies, music which must be
considered as almost extinct, namely, genuine old
chorales, old church music of the strict style, and
national songs, as well as the greater part of com
positions of the oratorio class, principally Italian. If
the object be to elevate and direct the mind by music,
choral societies are certainly entitled to rank as the
principal means of attaining that object. Had com
posers been inspired by beautiful words, their inspir
ation must have impressed itself distinctly upon the
music they wrote;and what can be compared to the
human voice when grand ideas fill the singer s soul ?
For many years I have taken an active part in a
choral society which can pride itself on having with
the greatest zeal and upon a large historical plan madea high standard its aim and object. So, regarding
what occurred around me, and taking note of the
proceedings of others, I have had much material for
Purify in Music. gr
reflection in respect of the^e societir s ; whence it maynot improbably be of general utility if I offer the
following remarks upon them, especially as attention
is better obtained by print than word of mouth. In
doing so I do not pretend to dictate to masters of the
art. To lecture men like Zelter as to their duties in
anyway whatever would be worse than presumption ;
but seeing that the best men (those acquainted with
the history of the matter) are just the most reserved, an
amateur who has reflected upon it may perhaps be
allowed to say a word, and at any rate to give a help
ing hand to a good cause. If we regard choral
societies as a whole it is impossible to say authorita
tively what is the best manner of conducting them.
For instance, if their object be light entertainment,
they are as praiseworthy as any social assembly ; but
of course the way in which to conduct them will be
altogether different from what it would be if the
society met for the enjoyment of classical music, for
edification and elevation- of the mind and its diversion
from the things of everyday life. I shall only here
speak of the latter class, for it is by them only that
some sort of relief can be afforded to the urgent musi
cal wants of our day, so far, that is, as these societies
steadily pursue the acquaintance of the purest and
completest specimens of all types, and use works of
mediocrity not of choice, but merely as a convenience
now and then, and as tending to a better knowledgeof the highest and best.
The primary and most essential requisite of a choral
society is that its members be judiciously chosen from
genuine lovers of art, that pains are taken to cherish
to the utmost the love and enjoyment of real art, and
that an equal distribution of voices is secured. Conse-
92 Purity in Music.
quently an evening set apart for singing must comebefore all mere eating and drinking engagements,and all the members must be agreed that an associa
tion which needs their united efforts to make and maintain it must not be at the mercy of ordinary pleasures*
particularly because while in other assemblies the
absence of one is not much missed, here the omission
of one voice may cause a total deadlock, and this
may occur even in choruses where a single trained
voice may be an indispensable aid to the others. Theconductor of the society will therefore have to bestir
himself to the utmost to prevent the interference, to
the society s detriment, of the frivolity and idleness
allowed and allowable in respect to other amusements.
If this course of action be steadily pursued from the
beginning, and if the members of the society can rely
upon having classical works of all kinds placed in
their hands, the love of it will very soon awaken
the needful interest without further trouble. If the
society have members who may be supposed to have
a high moral aim they will soon perceive that there is
a brighter sun in a trained and willing choir than in
all the dazzling circles of fashion, and there will then
be no occasion for fault-finding with any who declare
they are unable to give themselves heart and soul to
so heavenly an art for three hours in a week out of
one hundred and sixty-eight. When the society con
sists of a mixture of good and bad members some
indulgence must be made, because an even distribution
of the voices is impossible ;and the better members
must put up with the annoyance of having to endure a
general effect, as it is called in other words, a bawlingthat penetrates doors and windows.
A second great requirement of a good choral society
Purity in Music. 93
is an extensive musical library, for the best of music
is liable to pall from the absence of variety ; and
hence it often happens that the oftener some most
delightful pieces are practised the worse they are
sung. And again, instrumentalists find that the
piece they have practised is often played best whenresumed after a temporary placing aside. A small
library is very likely to cause people to acquire bad
likings for want of better material, and to enjoy grain
and husk equally well. A point should therefore be
made of giving side by side a variety of masters from
the earliest down to the present times. Absolute
predominance should be allowed to no one style or
composer, or the composers of any one country, nor
on any account should an entire evening be given to
the heavy and measured music of the old church
style, which, shorn of the imposing effect of a church,
is apt to tire and overstrain the attention, while even
in church it is hard to bear a long and continuous
musical performance. But above all things else, care
should be taken to have not only four-part pieces, but
also in one, two and three parts, for all the different
voices, and especially pieces in eight parts or more,the distinctive beauty of which lies in their rising to a
climax not by increased effect of voice but by acces
sion of parts. It often happens that there are only a
few voices of real excellence, and this makes it very
necessary to have the resources of an ample library,
in order to make full use of individual talent. Thereare many difficulties, however, in the way of acquiringa good library, and which are of course insurmountableif the members are of the same disposition as those
who spend any amount on finery, trinkets, balls and
dinners, but decline good music unless it come gra-
-,4 Purity in Mnsic.
tuitously. Nothing good can come where such a
paltry spirit prevails ; hut if there be due liberality
good results may be hoped for. The best com
positions of our countrymen, Handel and Sebastian
Bach, are in great part in print, as are Handel s
almost without an exception in England, and partially
in Germany, which editions, although considerably
mutilated, always contain a great amount of goodmaterial. It is easy to obtain the original Hussite,
Lutheran, and Calvinistic chorales.
A choral society might even content itself with the
specimens given in Mortimer s " Choral Music of
the Reformation Period." (Berlin : 1821, 4 vols.) I
have already pointed out the national songs that are
in print. The works of the old Flemish and Dutch
school are certainly difficult to meet with. To find
Italian music one is generally obliged to make an
extended search not only in Rome (where certainly
much can be obtained from Signer Fortunate Santini)but in other places as well, because in Italy, as in
Spain, a bad habit has prevailed of each locality
keeping its own productions to itself, or consideringthem better than any others. There are extant,
however, in print several important Italian works,
sacred or otherwise, of interest to choral societies, of
which I can specially mention L. Leo s " Miserere"
for eight voices, Pergolesi s " Stabat Mater " which
is completely spoiled in Killer s German edition a
Litany and Mass by Durante for four voices, and the
Collection previously referred to, comprising Allegri
and Bai s "
Misereres," and Palestrina s " Lamenta-
iiones,""
Responsoria,""
Popule meus," "Stabat
Mater," and" Fratres ego enim." To these I should
add some duets and a Magnificat of Durante, recently
Purity in Music. 05
published at Leipzig and Berlin, and as well Mar-
cello s magnificent edition of the Psalms, lately issued
in Florence, and edited by Cherubini in twelve folio
volumes. I do not name other minor pieces published
in periodicals, miscellaneous collections, or elsewhere
in addition. I have perhaps overlooked a great manythat are printed because it has always been my aim
to obtain from Italy itself the most reliable MSS.Another duty devolving upon the leader of a society
devoted to classical music is to attend carefully to the
practising of the several parts. Thus before the
execution of a piece all the sopranos should be re
hearsed together so far as they require assistance,
then the altos and the others each separately, and
this too under the conductor s personal superinten
dence, so that when he comes to conduct the final
performance he may have no ground for complainingof the others. It is only thus that the necessarysteadiness and delicacy can be obtained. Numerous
points too can thus be detected which in united
singing would remain unsettled, one part easily
drowning another, and politeness and consideration
preventing corrections being made as freely as in
private practice. For accomplished singers, indeed,
such trials may be unnecessary, but generally theycannot be dispensed with. As a rule, it is seen that
those who possess a real taste for art have the reverse
of dislike for practice, as long as works of good
quality in their various kinds are tendered to them ;
for the more pains spent in the pursuit of the beauti
ful the greater the appreciation of it. Accomplished
singers have also the satisfaction of tending by their
example to encourage and instruct those not so proficient
;and how easy it is to spare a couple of leisure
96 Pu /ity in Music.
hours, provided one knows in other respects how to
make the most of his time ! As yet I have not
referred to puhlic performances, of which many are
fond, either from vanity, or because from good nature
they would have every one join in their pleasure. If
societies aim at comprehensive historical informa
tion, and give their best talents to those master
pieces that take us aside from worldly things, a
frequent appearance in public would be as paradoxicalas to invite educated and ignorant alike, without
distinction, to listen to the rendering of a sublimelyconceived poem. It is natural enough that certain
pieces should be heard in public, and occasionally
must be so in order to convey pleasure to others. But
I become more convinced every year that privacy,
except as regards a few intimate friends, is of the
utmost importance to choral societies ;for thus, and
only thus, can be engendered that calm and even
temper necessary to an earnest passion for music.
It secures you, moreover, from constrained attempts;for in a public performance the minutest errors must
,and this generally requires excessive
pains from unpretending amateurs. It is alwaysbest to quietly pass over small defects, and to atone
for them by abundant excellence ; just as in literature
it is far better to have a general knowledge of classical
authors, and to risk misunderstanding a word here
and there than to exhaust all one s energies over a
particular volume. Yet while the society shuts its
doors to the outside world in order to practise at
leisure the rendering of first-rate musical works, it is
always necessary to the conductor of a well-ordered
society to exercise an unflagging patience and kindly
indulgence, because from the education, or rathe*
Puritv in Music.
mis-education, of our people, their minds are generallynot as fresh ad virgin soil, but pre-occupied with
certain ideas which debar the appreciation of art at
first, though afterwards it shows its overwhelming
charms, as I can testify from experience. It must be
borne in mind, too, that classical music must alwayshave its special foes, whose censure is really its
highest praise, and also that we have in this lower
world of ours a tolerably large number who can
readily see swiftly enough a great deal in what is gayand lively, but cannot without much effort grasp the
profound intention and angelic purity of a different
style. This, indeed, is more to be expected now than
ever, as a youthful taste for music of the latter
description is scarcely fostered by one of our churches ;
whereas it is of infinite importance that a taste for the
highest art should be fostered in youth. We have
only to read Zelter s most interesting memoir of his
friend Fasth (Berlin, 1801), to understand the
obstacles high art has to contend with. To the want
of preparatory training and capability of apprehensionmust be added the dearth of full deep altos and
basses, which are greatly needed for numbers of the
older masterpieces, especially those of Josquin, Senffel,
Lassa, and Palestrina. For such works as these I
have to content myself as well as I can with a woodcut instead of a picture, and draw upon my imagination to supply the deficiency. There are many whoare not disposed to tax their imagination for such
friendly assistance, and so it may often be requisite
to leave some most admirable composition unessayed.But in every instance the principal thing is the choice
of a good conductor; one versed in classical music,able to grasp the score, and inexorable towards the self-
H
98 Purity in Music.
conceit or the vanity of others. Yet this, alas! is
just the point where with all musical societies the
least trouble is taken. It too frequently occurs that
there are found invested with arbitrary authorityeither amateurs who know little or nothing of what
they should do, and, like the cook in Lichtenberg s
Short Stories, can at the best boast of capital appe
tites, or else pretentious professionals who consider
their own compositions and laboured handiwork
better than anything else. Deplorable in both cases,
but the latter decidedly more so than the former. I
mean that ignorance is at all events usually inclined
to profit with good temper by the superiority of others,
whilst a musical autocrat of the ordinary kind is the
most offensive creature on earth. He has such a
high opinion of himself, and is so constantly engagedin composing, that he never pays attention to classical
music, and his self-esteem generally causes him to
fall foul of those who come into contact with him, so
that he himself may be seen conspicuously on the
ground he has cleared. Our never-resting prolific
composers often remind me of a learned old friend
who was constantly writing himself but never read
the writings of others ; and when a plain allusion
was made to the subject before his wife, the goodwoman haughtily answered,
" My husband has no
need to buy books, he writes his own." This applies
to thousands at the present day who pride themselves
on their own writings and would like to suppress all
classical music. For this reason certain concerts,
held far too often, can only be described as pitiful
exhibitions, where bald and soulless exercises are to
be heard. It would be well to impress on the con
ductors of most choral societies, as well as most of
Purity in Music. 99
our young poets," Do as you like, but spare us your
own compositions." This stringent rule may, no
doubt, often crush a healthy germ ;but it will be con
soling to know that the conductor is thus at liberty to
select the choicest productions of acknowledged clas
sical authors for practice.
So it is that nature allows many a tiny bird to
perish that eagles may be fed. At the same time
there may well be exceptions where the conductor
may really take precedence as a great composer ; but
it would be a good precaution, the society being first
provided with standard works and having practised
them thoroughly, not to allow a conductor addicted to
composing to put forward his own works unless asked
to do so. Yet care should be taken that he does not
show beforehand that he desires to be asked to do so,
and that he does not give himself out as a great com
poser. In the case of a society not possessing a
good library, want of matter may indeed force it
back upon its conductor s own productions or uponperpetual repetitions of the same pieces. But the
proverb that "
Necessity knows no law " can never
prove an agreeable lesson except for th r truth lyingin it.
Next I decidedly recommend the entire exclusion of
operas at all events the popular modern operas,much talent though there may be in some of them.The range of classical works other than opera is
unlimited, and demands an even balance of mind, par
ticularly now when the music one hears from one s
earliest days has a wanton and worldly influence,
which causes everything outside opera to look strangefrom want of familiarity with it ; and this can only be
#ot rid of by setting aside certain hours in which theH 2
ioo Purity in Music.
whole attention may be concentrated on other styles
than the operatic. In addition, one really hears the
modern opera music everywhere. Germany is now, flooded with theatres ; the music played in them is1
studiously reproduced at concerts, and social assem-
." blies always draw their musical pleasure from opera.All the time too that remains out of the 168 hours of
the week, after taking therefrom the short harmonic
evening, can be given if need be to a diligent practiceof opera at home. Anybody then, who in the face
of all this trivial enjoyment, would still demand that
a choral society should practise modern opera, and
thereby lay itself open to the charge of frivolity, is like
the smoker, who at the confessional took his lighted
pipe out of his mouth, and holding it behind his back
began his confession with the request to be allowed
to continue smoking. Several other things, often
considered as of secondary importance, deserve the
most careful thought. First among them I regardthis : that the conductor should make the expression
accurately understood ; to do which he should with
every possible precaution go through those parts in
which expression is left, as is often the case in old
scores, to the individual taste. It is well nigh incre
dible how much a piece gains by the simultaneous
observance of its fortes, pianos, crescendos, and
diminuendos. If these are not plainly marked in the
copies of the parts two evils inevitably follow, both
equally bad ; either the singing will be devoid of
feeling, and so spiritless all through, or else each
singer will be influenced by his own feelings, and the
unity of effect be entirely destroyed. There are great
difficulties indeed in full expressive marks, and in
attempting them it will be found hard to reconcile
Purity in Music. 101
diffeient tastes ; yet a fixed rule is always to be preferred to untutored liberty, which either keeps inactive
from timidity, or else puts the whole choir into dis
order. In the next place it is very important for the
society to employ a competent translator;for while I
consider it quite necessary on account of the charmof the words to sing the Latin and Italian text in the
original, the meaning must always be made clear to
the singers. However in other languages this does
not hold good, and there German words must be sub
stituted in the place of the original, because other
wise it is impossible to reckon upon its being even
properly pronounced. This substitution is often, it
must be confessed, a very difficult task ; but who that
cares for the object in view will shrink from the
trouble ? Finally I would direct attention to a matter
on which, small as it may seem, a great deal depends,and that is the advisability of indicating by figures
the bars in the score of every piece and separate vocal
parts, and of continuing them, as far as possible,
without a break throughout. This is the only meansfor specifying quickly and surely the places where a
slip occurs, and to which consequently it will be
necessary to refer. To be always counting with the
finger is very tiresome, and easily causes confusion, as
miscalculation on some one s part is generally certain.
Those who have performed a part in sonatas for
two players will at once see how it would lightenthe labour of practising if the bars were numbered.I would also recommend that in copying the parts
the same clef should always be used for each respective part. For instance, the alto part should alwaysbe written in the alto clef, or always in the violin
clef, for few singers of either sex are equally
IO2 Puritv in Music.
familiar with different clefs, and no benefit can comefrom using at one time one clef and at another time
a different one, simply because scores are so marked.
Copyists readily acquire the necessary facility of
transposing if properly overlooked at first. Manymay not like my plea for a strict attention to rule in
what may seem trifles as much as in all others. I,
on the other hand, have still less fancy for a choral
society being turned into a Babel. There can be no
perfection without regard to details ; and regularity is,
as Kant used to say, quite as easy to one used to it as,
and even easier than, irregularity. Once again : if
classical music has to contest the prejudice of being
thought too serious and exacting, such opposition can
only come from levity or ignorance. In the case of
well-ordered choral societies it can be only senseless
prejudice ;because if such societies will employ
themselves with the four kinds of music commended in
the previous pages namely, genuine old chorales of
various churches, compositions in the strict church
style, compositions in the oratorio style, and lastly,
select national songs of all lands they will then
have at command such a complete store of grave and
gay, of the passionate and tender, of the devotional
and racy, of the sublime and the romantic, that it
would not be exaggeration to express the thoughtthat has often come to me, and is not mere fancy, that
1 could never grow old in heart if a kind destiny were
to preserve to me all my life an unimpaired enjoyment of good music. This has also been the feeling
of the many talented amateurs who have been asso
ciated with me for many years ;and I can say that
nothing has confirmed me in and helped me to tne
contemplation of the nobie and great so mucn as tn-
Purity in Music. 103
enthusiasm and lively appreciation of which I have
seen so many cheering proofs during almost the
whole of my connection with them. And so to me,
engaged as I am in the pursuit of stringent profes
sional duties, fine music cherishing a bright flame in
my soul has become as valuable as the noonday sun.
Often have I said from my very soul with Luther
and will here say once again" Music is a fair and
glorious gift of God. I would not for the world
forego my humble share of music."
W. REEVESAND
BEEYES & TURNER S
HnMications,
CATALOGUEOF WORKS
Literary .
Art and . . .
Music.ALSO
Books on . . .
Freemasonry.
2 W. REEVES, 83, CHARING CROSS ROAD, W.C.
How TO MEMORIZE Music : With Numerous Musical Examples. By C. F. Kenyon, cr. 8vo, cloth, 2s.
(or paper is.)
TREATISE ON THE TRAINING OF BOY S VOICES"
With Examples and Exercises and Chapters on Choir-
Organization. Compiled for the Use of Choirmasters.Bv George T. Fleming, cr. 8vo, cloth, as.
GRADUATED COURSE OFExERciSESFORBovCHORiSTERs:With Pianoforte Accompaniment. For Use in conjunc-tion with Above. By G-. T. Fleming, 4to album, is.
INTERLUDES. Seven Lectures by H. C. BanisterCollected and Edited by Stewart Macpherson, withPortrait, cr. 8vo, cloth. 2?. (oub. at 55.)
ORGAN MUSIC.(All with ped. obb.) (Prices Music-net).
Chopin s Nocturne (Op. 9, No. 2) is. 6d. E. H. Lemare.Forward! Grand March . . . is. 6d. E.H.Sugg.Lebanon March (Smallwood) . . 23. Dr. Westbrook.
Grand Festival March, "Illogan," 2s. H. C. Tanking(also arr. for Pf. Solo ; and Vn. & Pf.)
Overture to William Tell (Rossini) 2s. 6d. A. Whittingham.Overture to Oberon (Weber) . . 23. A. Whittinyham.Overture to Freischiitz (Weber) . 2S. A. IVhittinghatn.Six Pieces for Church Use (arr.) . is. W. Smallwood.Overture to Tannhauser (Wagner)23. 6d. E. Evans.Overture to Merry Wives cf Windsor
(Nicolai) 2s. 6d. E. Evans.
8vo, cloth. 30O pp., 3s. 6d.HONE (William),Ancient Mysteries described, especially
the English Miracle Plays founded on the ApocryphalNew Testament Story, extant among the unpublishedMSS. in the British Museum, including notices of Ecclesiastical Shows and Festivals of Fools and Asses, the
English Boy Bishop, Descent into Hell, the Lord Mayor s
Show, the Guildhall Giants, Christmas Carols, etc., withEngravings snd Index.
8vo, cloth, 3s. 6dHONE (William), The Apocryphal New Testament, being
all the Gospels, Epistles and other pieces now extantattributed in the first four centuries to Jesus Christ, his
Apostles and their Companions and not included in theNew Testament by its compilers.
W. REEVES, 83, CHARING CROSS ROAD, >V.C. 3
In 4 Volumes, 8vo. Price 2 2s.
Handsomely bound in designed buckram cloth.
*s* One Hundred Copies specially printed on hand-made paper supplied
By Spatting <jy Hodge. Price 4 4s. net, bound in Vellum
Essays & Letters of MONTAIGNE,Edited by WILLIAM CAREW HAZLITT.
New and Enlarged Index,
AN ENTIRELY NEW EDITION formed from a Collation of
the Foreign Quotations; a fresh English rendering anda careful revision of the text throughout. Some
account of the Life of Montaigne, Notes to
which are added, a Translation of all
the Letters known to be extant.
Portraits, Facsimile Leiter, and other Illustrations.
MR. HAZLITT S MONTAIGNE, An entirely new Edition text
of Montaigne s Essays and Letters (founded on the now ex
tremely scarce one published in 1877 in three volumes octavo)has now been brought to completion (Publisher, Messrs. Reevesand Turner) and will, partly by reason of enlarged introductorymatter and partly by additional notes, extend to four volumes.The Edition of 1877 was superintended by Mr. Hazlitt s father,
though bearing his own name on the title, and he merely contributed the Preface. The book has now at length been adaptedto the last French Variorum so far as possible, and innumerableerrors of the former English versions have been rectified. TheBiographical account of the essayist has been considerably amplified and instead of the sixteen Letters given in 1877 thereare thirty-five, many of which are of interest and importancetowards understanding the Life of the Author. A salient feature
in the present undertaking is to have substituted for the Englishcolloquial equivalents^ or rather supposed equivalents of the
great Frenchman s language, the words which he actually usesor the sense, which he actually intends to convey ; and thedifference is often curious and sometimes immense between himandhis English Tenderers. The Athenaum.
Thick crown 8vo, cloth, 3/6 (pub. 7/6.)
HAUNTED HOMESAnd Family Traditions of Great Britain,
By JOHN H. INGRAM. Numerous full page plates.
4 W. REEVES; 83, CHARING CROSS ROAD, W.C.
In the Press
Modern Orchestral %strumentsTheir Origin, Construction, and Use.
BBINQ A PRACTICAL ILLUSTRATED HANDBOOKFor the use of
AMATEURS OR STUDENTS,With many additional Illustrations, Tables, an
Appendix, and an Explanatory Index.
K. SCHLE8INGER.CLASSICAL WORKS.
Edited by Prof. Anthon.
ANTHON S HORACE, Edited by Rev. James Boyd,LL.D., thick post 8vo, 55. 66.
ANTHON S HOMER S ILIAD, First Three Books, Edited
by B. Davies, LL.D., thick post 8vo, 53. 6d.
ANTHON S CESAR S COMMENTARIES, Edited by Rev.G. B. Wheeler, thick post 8vo, 43, 6d.
ANTHON S ECLOGUES AND GEORGICS OF VIRGIL, with
English Notes, Critical and Explanatory, and a Metrical
Index, post 8vo, price 43. 6d.
ANTHON S SALLUST, Edited by Rev. J. Boyd, L.L.D.,post 8vo, 45. 6d.
ANTHON S JUVENAL AND PERSIUS SATIRES, Edited
by J. T. Wheeler, post Svo, 45. 6d.
ANTHON S CICERO S ORATIONS, with English Commentary and Historical, Geographical and Legal In
dexes, Revised and Edited by Rev. G. B. Wheeler, postSvo, 45. 6d.
ENGLISH HERALDRY by Charles Boutell, M.A., with
450 illustrations, Eighth Edition, cr. 8vo, cloth, 1904,
33. 6d. net (pub. 73. 6d.)ARMS AND ARMOUR in Antiquity and the Middle
Ages, also a descriptive notice of Modern Weapons, byCharles Boutell, M.A., New Edition with very numerousadditional illustrations, crown Svo, cloth, 1902, 38. 6d.
net (pub. 73. 6d.)
W. REEVES, 83, CHARING CROSS ROAD, W.C. 5
Crown 8vo, Special Designed Cover, 5/-
MASTERSINQERS APPRECIATIONS OF MUSIC ANDMUSICIANS WITH ESSAY ON
By FILSON YOUNG- HECTOR BERLIOZ . . .
CONTENTS. The Pastoral Symphony Tristan and Isolda Bach s OrganFugues Mozart s Requiem Tsohiakowsky s Sixth Symphony The Composerin England--Cbarles Halle CamilleSaint-Saens An Irish Musician HectorBerlioz. _____
eady. roy. 8vo, boards, 1/6
"THUS SPAKE ZARATHUSTRA"By F. NIETZSCHE, A BOOK FOR ALL AND NONE.TRANSLATED BY THOMAS COMMON, containing Zara-thustra s Prefatory Discourse, with Critical and Biblio,
graphical Notices, Part I.
Nietzsche s Ethics, however, are not the Ethics for boys, nor for old
women, nor for dreamers either ; they are the Ethics for full grown men2the noble, strong, ivide-aivake men, ivho shape the ivurld s destiny."
EDITOR.
crown 8vo, Limp Cloth, 2/
THE ART OF MODULATING.A SERIES OF PAPERS ON MODULATINGAT THE PIANOFORTE. WITH 62 MUSICALEXAMPLES. BY HENRY C. BANISTER.
Not only at Examinations viva voce but in Actual Experience, is ability
required to pass rapidly, with very little "process" from one key to another.
Ind Edition. Thick Crown 8vo. Cloth, Price 7/6.
THE LIFE OF HENRY GEORGE.Author of "
Progress and Poverty,"
With Portraits. By his Son, HENRY GEORGE, JUN.
Thick Crown 8vo., Cloth 10s.
Important Critical Contribution.
CHOPIN : THE MAN AND HIS MUSIC.BY JAMES HUNEKER,
Author of " Mezzotints in Modern Music."" Mr Huneker is a Chopin enthusiast. He accords admira
tion to Brahms, to Wagner, to Tchaikovsky : his worship is
reserved for Chopin. Being gifted with clear insight and imagination which grasp many and diverse moods Mr. Huneker is a sanecritic and a manly There is no pretence at new materialin the book. Mr. Huneker has garnered all that has been writtenabout the composer and he has threshed out the grain from thechaff. The result is, therefore, of value." Musical Standard
6 W. REEVES, 83, CHARING CROSS ROAD, W.C.
THE LARGE EDITION, over 1,000 pp., imp. 8vo.
CHAFFERS (Wm.), MARKS AND MONOGRAMS ONEUROPEAN AND ORIENTAL POTTERY ANDPORCELAIN, with Historical Notices of each Manufactory, preceded by aft Introductory Essay on Ancient Pottery and on the Vasa Fictiliaof England andMediaeval Earthenware Vessels,with over 3, 500 PottersMarks and Illustrations, revised and edited by F.
Litchfield, ornamental cloth, with Additional Information and Marks, Tenth Edition, 423.
New Edition (1905 ) Entirely Revised and Enlarged by C. A.
MARKHAM, F.S.A., with 260 New Letter and Date Marks.
CHAFFERS (W.), HALL MARKS ON GOLD ANDSILVER PLATE, Illustrated with Revised Tables of
Annual Date Letters employed in the Assay Officesof the United Kingdom, roy. 8vo, cloth, 2is.
COMPANION TO "HALL MARKS ON GOLD AND SILVER PLATE."
CHAFFERS (W.), A HISTORY OF ENGLISH GOLDSMITHS AND PLATEWORKERS (Gilda Aurifa-
brorum) and their Marks stamped on Plate, copied in
facsimile irom celebrated Examples and the earliest
Records preserved at Goldsmiths Hall, London, withtheir names, addresses and dates of entry, 2 500 Illus
trations ; also Historical Account of the Goldsmiths
Company and their Hall Marks and Regalia; theMint
; Closing of the Exchequer ; Goldsmith Bankers j
Shop Signs, a Copious Index, etc., a New Edition, 267pp., roy. 8vo, cloth, 12s.
CHAFFERS (W.), COLLECTOR S HANDBOOK OFMARKS AND MONOGRAMS ON POTTERY ANDPORCELAIN OF THE RENAISSANCE AND MODERN PERIOD, selected from his larger work, NewEdition considerably Augmented by F. Litchfield,I2th Thousand, 234 pp., post 8vo, cloth, gilt. 6s.
CHAFFERS (W.) HANDBOOK TO HALL MARKS ONGOLD AND SILVER PLATE, with Revised Tablesof Annual Date Letters employed in the AssayOffices of England, Scotland and Ireland, ExtendedbvC. A. Markham, F.S.A., cr. 8vo cloth, 53. 1902
MARKHAM (Chr. A., F.S.A) HANDBOOK TOFOREIGN HALL MARKS ON GOLD ANDSILVER PLATE (except those on French Plate),
containing 163 stamps, cr. 8vo, cloth, 55.
W. REEVES, 83, CHARING CROSS ROAD, W.C. 7
MARKHAM (0.), HANDBOOK TO FRENCH HALLMARKS ON GOLD AND SILVER PLATE. Illus
trated. Crown 8vo, clotb, 55. 1900
COBBETT (W), RURAL RIDES in the CouDties of
Surrey, Kent, Sussex, Hants., Wilts., Gloucestershire,
etc., edited with Life, New Notes, and the addition 01
a copious Index, New Edition by PITT COBBETT, mapand portrait, 2 vols, cr 8"O, (cloth gilt, 133. 6d.)
Cobbett s "Rural Rides" is to us a delightful book, but it is one whichfew people know, We are not sure that up to tbe present time it was impossible to get a nice edition of it, We are therefore glad to see that Messrs.Reeves & Turner s re -ently published edition is a very creditable productiontwo handy well-filled volumes, Gardening.
KEATS (John), THE POETICAL WORKS OF JOHNKEATS (large type), given from his own Editions andother Authentic Sources, and collated with manyManuscripts, edited by H. Buxton Forman, portrait,SEVENTH EDITION, 628 pp., cr. 8vo, buckram, 73. 6d.
THE LETTERS OF JOHN KEATS (Large type), Complete Revised Edition, with a Portrait not published in
previous Editions and 24 Contemporary Views ofPlaces visited by Keats, Edited by H. Buxton Forman,519 pages, cr. 8vo, buckram, 8s.
LORD CHESTERFIELD S LETTERS TO HIS SON.Edited with Occasional Elucidatory Notes, Translationsof all the Latin, French and Italian Quotations, anda Biographical Notice of the Author. By Chas. Stokes
Carey, 2 vols, cr. 8vo, bevelled cloth, IDS. 6d.
FLAGELLATION AND THE FLAGELLANTS, AHistory of the Rod in all Countries, by the Rev, W. M,Cooper, Plattt and Cuts, thick cr. 8vo, cloth, 73. 6d. (pub,I2S. 6d.)
THE AWAKENING OF WOMEN : or Woman s Part mEvolution, by Frances Swiney, crown 8vo, cloth, ^s^netStrong and soul-stirring The Book of the age on the woman
question." The Woman s Tribune.It is most carefully thought out . , , , Toe authorities quoted all seem-
to point to the fact that woman is more highly evolved than man, Mrs. AdaBallin, Editor of " WOMANHOOD."
8 W. REEVES, 83, CHARING CROSS ROAD, W.C.
SHELLEY S PRINCIPLES has time refuted or confirmed
them, a Retrospect and Forecast, by H. S. Salt, post8vo, is.
PERCY EYSSHE SHELLEY, Poet and Pioneer, a Bio
graphical Study by H. S. Salt, etched portrait, cr. 8vo,cloth, 35. 6d.
SHELLEY LIBRARY (The), An Essay in Bibliography,by H. Buxton Forman, Shelley s Books, Pamphletsand Broadsides, Posthumous Separate Issues, andPosthumous Books, wholly or mainly by him, 127 pp,,
8vo, parts I and 2, wrappers, 35. 6d. each.
A SHELLEY PRIMER, By H. S. Salt, cr. 8vo, bds.
23. 6d.
SHELLEY (Percy Bysshe), THE POETICAL WORKS(in large type), given from his own Editions andother Authentic Sources, collated with many MSS.,and with all Editions of Authority, together with his
Prefaces and Notes, his Poetical Translations andFragments, and an Appendix of Juvenalia, Edited byII. Buxton Forman, with the Notes of Mary Woll-stonecraft Shelley, fine etched portrait, 2 vols., cr. 8vo,cloth (with Design in Gold on cover by Rossetti), I2S.
Fourth Edition in the press.
SIDONIA THE SORCERESS, by William Meinhold.Translated by Lady Wilde, with the Amber Witch,translated by Lady Duff Gordon, in 2 vols., crown 8vo,8s. 6d. 1894
THOMSON (James, "B V."), POETICAL WORKS,The City of Dreadful Night, Vane s Story, Weddahand Om-el-Bonain, Voice from the Hell, and Poetical
Remains, Edited by B. Dobell, with Memoir and Por
trait, 2 vols, thick cr. 8vo, cloth, i2s. 6d.
THOMSON (James, B. V."), BIOGRAPHICAL ANDCRITICAL STUDIES, 483 pages, cr. 8vo. cloth. 6s.
LIFE OF DAVID GARRICK, by J. Smyth, post 8vo,
boards, is.
HUDIMENTS OF GREEK GRAMMAR, by E. Wetten-hall, D.D., translated by Rev. G. N. Wright, numerousAnnotations and Questions for Examination, by RevG, B. Wheeler, 35.
W. REEVES, 83, CHARING CROSS ROAD, W.C. 9
COMTE (Auguste), A Discourse on the Positive Spirit.
Explanatory Notes by E. S. Beesly, M.A., cr. 8vo, ciotn,2s. net.
OUTSPOKEN ESSAYS ON SOCIAL SUBJECTS : By ErnestBelfort Bax, cr. 8vo, cloth, 23. 6il.
A CREED FOR CHRISTIAN SOCIALISTS, with Expositionsby Charles William Stubbs, D.D. (The Dean of Ely).Cr. 8vo, cloth, 2S. (paper, is.)
COMTE (Auguste), General View of Positivism, translated by J. H. Bridges. 2nd Edition, cr. 8vo, cloth, 2S. 6d.
THE SOCIAL ASPECTS OF CHRISTIANITY, and other
Essays by Richard T. Ely, Ph.D. cr. 870, cloth, 2s.
(paper, is.)
PROGRESS AND POVERTY, by Henry George. Cloth,is. 6d., (paper, is.) or Cabinet Edition, cloth, 2s. 6d.
KARL MARX S THEORY OF VALUE (Complete), formingthe First 9 Chapters of "
Capital." cr. 8vo, cloth, 2s.
(paper, is.)
LOOKING BACKWARD, by Edward Bellamy, with
copious Index and Portrait. Limp cloth, is. 6d., Cabinet
Edition, Steel Portrait, 23. 6d. (also cheap editions,
paper covers, 6d. and is.)
CO-OPERATIVE COMMONWEALTH : Exposition of
Modern Socialism, by L. Gronlund. English Edition.
Third Edition. Edited by B. Shaw. cr. 3vo, cloth, 2s.
(paper, is.)
TENNYSON AS A THINKER, by Henry S. Salt, paper6d. (or large paper copies, is. 6d.)
PATRIOTISM AND CHRISTIANITY, by Count Leo Tolstoy.cr. 8vo, cloth, is. (paper, 6d.)
LAWS OF ETERNAL LIFE : Being Studies in theChurch Catechism by Rev. Stewart D. Headlam. cr.
8vo, cloth, 25. (paper, is.)
LONDON ROOKERIES AND COLLIER S SLUMS. A Pleafor More Breathing Room. By Robert Williams,A.R. I. B. A. ,
with numerous Diagrams, sm. 4to, sewed, is.
MORE LIGHT AND AIR FOR LONDONERS. By RobertWilliams, A. R. I. B.A., with numerous Diagrams, sm. 410,sewed is.
10 W. REEVES, 83, CHARING CROSS ROAD, W.C.
RUSKIN S NOTES OF THE PICTURES OF MR. HOLMANHUNT, Exhibited at the Rooms of the Fine Art Society,1886, with Criticisms by John Ruskin and other Comments, sewed, 8vo, is.
RUSKIN S NOTES ON SOME OFTHE PRINCIPALPICTURESOF SIR JOHN EVERETT MILLAIS, Exhibited at theGrosvenor Gallery, 1886, with a Preface and Originaland Selected Criticisms by John Ruskin and other
Comments, 8vo, sewed, is.
WHAT is PROPERTY ? An Inquiry into the Principleof Right and of Government, by P. J. PROUDHON, Translated by B. R. TUCKER, crown 8vo, cloth, 35. 6d.
DISCOURSES ON POSITIVE RELIGION : By J. H.Bridges, M.B., Second Edition Revised and Enlarged,8vo, boards, is.
RENT, INTEREST AND WAGES, or the Real Bearingsof the Land Question. By Michael Fliirscheim. Third
Edition, Revised, cr. 8vo, paper is. (cloth 2S.)
I HISTORICAL. BIOGRAPHICAL WORKS. ETC.|
MUSICAL HISTORY AND BIOGRAPHY (Revised and enlarged Edition). By F. J. Crowest, post 8vo, sewed is.
(cloth, 2S )
MAKERS OF Music, Biographical Sketches of theGreat Composers, With Chronological Summaries of
their Works, and Facsimiles from Musical MSS. of
Bach, Handel, Purcell, Dr. Arne, Gluck, Haydn, Mozart.Beethoven, Weber, Schubert, Berlioz, Mendelssohn!
Chopin, Schumann, Wagner, Verdi, Gounod, Brahms andGreig, with General Chronological Table. By R. Far-
qnharson Sharp, Portrait of Purcell, Second Edition, cr8vo, cloth, 53.
How TO MANAGE A CHORAL SOCIETY. By N. Kil-
burn, 2nd Edition, post 8vo., 6d.
WAGNER S PARSIFAL and the Bayreuth Fest-Spiel-haus. By N. Kilhurn, cr. 8vo., 6d.
WAGNER, A Sketch of his Life and Works, by N.Kilburn, 6d.
WOMAN AS A MUSICIAN, an art Historical Study byF. R. Ritter, 8vo., is.
SIXTY YEARS OF Music : A Record of the Art in England during the Victorian Era, containing 70 Portraitsof the most Eminent Musicians, oblong quarto, boards,cloth back, as. 6d.
W. REEVES, 83, CHARING CROSS ROAD, W.C. II
CHERUBINI, Memorials illustrative of his Life, by EBellasis, thick cr. 8vo, cloth, 6s.
THE BACH LETTERS. Letters of Samuel Wesley,relating to the Introduction into England of the Worksof Bach. Ed. by E. Wesley. 2nd Edition, 8vo, cl., 2S. 6d.
MEZZOTINTS IN MODERN Music, Brahms, Tchaikovsky, Chopin, Strauss, Liszt, and Wagner, By Jas. Hune-ker, cr. 8vo, cloth, gilt top, 73. 6d.
SKETCHES OF ENGLISH GLEE COMPOSERS, Historical,
Biographical and Critical (From about 1735-1866), by D.
Baptie, post 8vo, cloth, 53.
HISTORY OF HUNGARIAN Music, by J. Kaldy (Directorof the Royal Hungarian Opera), cr. 8vo, bevelled cloth,2S. 6d. net.
FRANZ LISZT, by T. Carlaw Martin, 6d.
HALF A CENTURY OF Music IN ENGLAND, 1837-1887,By F. Haeffer, 8vo, cloth, 33. 6d. (pub. 8s. 6d.)
TEMPLETON AND MALIBRAN : Reminiscences of theseRenowned Singers, with Original Letters and Anecdotes,3 Authentic Portraits by Mayall, 8vo, cloth, 2s. 6d.
BALFE, His Life and Works, by W. A. Barrett, cr.
8vo, bevelled cloth, 33. 6d. (pub. 73. 6d.)
STATHAM (H. H.), Form and Design in Music, aBrief Outline of the ^Esthetic conditions of the Art, addressed to general Readers (in a readable Literary form... in everyday language), 8vo, cloth, 2s (pub. 53.)
BEETHOVEN, by Richard Wagner, with a Supplementfrom the Philosophical Works of Arthur Schopenhauer,trans, by Edward Dannreuther, 2nd Ed., cr. 8vo, cl., 6s.
CHOPIN, LIFE OF, by Franz Liszt, new and very muchEnlarged Edition, Englished in full now for the first time
by John Broadhouse, cr. 8vo, cloth, 6s.
WAGNER, Der Ring des Nibelungen, being the storyconcisely told of Das Rhinegold, Die Walkure, Siegfriedand Gotterdarnmerung, by N. Kilburn, post 8vo, gd.
Box (C.), Church Music in the Metropolis, its Pastand present Condition, with Notes Critical and Explanatory, post 8vo, cloth, 33.
THE PAST AND THE FUTURE, INAUGURAL LECTURE ATGRESHAM COLLEGE, Nov. 1890, by J, Frederick Bridge,Mus. Doc., cr. 8vo, sewed, 6d.
12 W. REEVES, 83, CHARING CROSS ROAD, W.C.
ENGLISH HYMN TUNES from the i6th Century to thePresent Time, by the Rev. A. W. Malim, containing 21
Musical Illustrations, 8vo, sewed, is.
BEETHOVEN, Life of, by Louis Nohl, translated byJohn J. Lalor, 2nd Edition, cr. 8vo, bevelled cloth, gilt
edges, 35. 6d.
ENGLISH GLEE AND MADRIGAL WRITERS, by W. A.Barrett, 8vo, cloth, 2S. 6d.
LIFE AND WORKS OF HANDEL. By A. Whittingham.is. (cloth, is. 6d.)
LIFE AND WORKS OF MOZART. By A. Whittingham.is, (cloth, is. 6d.)
BEETHOVEN DEPICTED BY HIS CONTEMPORARIES, byLudwig Nohl, translated by E. Hill, 2nd Edition, thickcr. 8vo, cloth, 75. 6d.
EDUCATIONAL
DICTIONARY OF MUSICIANS, (Cocks )New and En
larged Edition brought completely up to date, po8t8vo,sewed, is. (cloth, is. 6d.)
Music, A First Book for Beginners embodying themost recent English and Continental Teaching by aProfessor [Alfred Whittingham] , post 8vo, 4d.The two principal objects kept in view in writing this little book were
Thoroughness of Definition and Regular Order in the arrangement of Subjects. It differs from all other similar Works in that all the TechnicalPerms in Music are Introduced In the Answers not In the Question!
COUNTERPOINT : A Simple and Intelligible Treatise,
Containing the most Important Rules of all Text Books,in Catechetical Form ; (Forming an Answer to the
Question" What is Counterpoint ?
")Intended for Be-
gmners. By A. Livingstone Hirst, cr. 8vo, sewed, gd.DICTIONARY OF 4000 BRITISH MUSICIANS, from the
Earliest Times, by F. J. Crowest, cr. 8vo, stiff cover, is.
MANUAL OF MUSICAL HISTORY, from the Epoch of
Ancient Greece to our present time by Dr. F. L. Ritter,
2nd Edition, cr. 8vo, ci., 2s. 6d.
ON CONDUCTING, by Richard Wagner, translated byE. Dannreuther, Second Edition, cr. 8vo. cloth, 53.
DUDLEY BUCK S Complete Pronouncing Dictionary of
Musical Terms. By Dr. Dudley Buck. Third Edition with
the Pronunciation of each Term accurately given, cr. 8vo, papercover 6d., (cloth Is).
W. REEVES, 83, CHARING CROSS ROAD, W.C. 13
THE STUDENT S HELMHOLTZ, Musical Acoustics or
the Phenomena of Sound as connected with Music, byJohn Broadhouse, with more than 100 Illustrations, 4thEdition, cr. 8vo, cloth, 73. 6d.
THE STUDENT S HISTORY OF Music. History of
Music, from the Christian Era to the present time by Dr.
F. L. Ritter. 3rd Edition, thick cr. 8vo., cloth, 73. 6d.
HARMONY AND THE CLASSIFICATION OF CHORDS, with
Questions and Exercises, by Dr. J. H. Lewis, Vol. i,
8vo, boards, cloth back, 53.
MUSICAL ANALYSIS. A Handbook for Students, withMusical Illustrations, by H. C. Banister, crown 8vo,
folio, cloth, 2S.
ELEMENTARY Music. A book for Beginners, by Dr.
Westbrook, with Questions and Vocal Exercises, Thirteenth Edition, is., (cloth, is. 6d).
PURITY IN Music, by A. F. Thibaut. Translated
by J. Broadhouse. Schumann says: "A tine book aboutmusic, read it frequently." Crown 8voM cloth, 2s. 6d.
EXERCISES ON GENERAL ELEMENTARY Music. ABook for Beginners, by K. Paige, 4th Edition, Part I.
price gd.,Part II. price is.(2 parts complete in cloth, 2/4)The Musical Times speaks in the highest terms of above work.
DR. AHN S FIRST FRENCH COURSE. Edited by S.
Bartlett (Head Master Mercers and Stationers School),Post 8vo., cloth, is. 6d.
HARMONISING OF MELODIES,A Text-Book for Studentsand Beginners, by H. C. Banister, cr, 8vo, cloth, 23.
MUSICAL SHORTHAND for Composers, Students of
Harmony, Counterpoint, etc., can be written veryrapidly and is more legible than printed music, with
Specimens from Bach, Handel, Chopin, Wagner, Mendelssohn, Spohr, Mozart, etc., by Francis Taylor, 14
pages, I2mo, 6d."
Composers and Students of Music expend a vast amount of time in merepainful mechanism." We have only six totally unlike signs. These Iromtheir simplicity can be written with great rapidity, one dip of the pen suffic
ing for an entire page, and the writing being as legible as possible. Preface
|~WORKS ON THE PIANOFORTE, &o.|
PIANO TEACHING. Advice to Pupils and YoungTeachers, by F. Le Couppey (Prof, in the Conservatoryof Paris, etc.), Translated from the 3rd French Edition
by M. A. Bierstadt, post 8vo, cloth, as.
/4 W. REEVES, 83, CHARING CROSS ROAD, W.C.
GREATER WORKS OF CHOPIN, (Polonaises, Mazurkas,Nocturnes, etc., and how they should be played, byJ. Kleczynski, translated by Miss N. Janotha andedited by Sutherland Edwards, with Portrait, Facsimile,etc., cr. 8vo, cloth, 55.
PIANOFORTE TEACHER S GUIDE, by L. Plaidy, translated by Fanny Raymond Ritter, cr. 8vo, boards, is.
Music AND MUSICIANS, Essays and Criticisms, byRobert Schumann, translated, edited and annotated byF. R. Ritter, Portrait of Robert Schumann, photographed from a Crayon by Bendemann, First Series,Seventh Edition, thick cr. 8vo, cloth, 8s. 6d.
Ditto, 3rd Series, 3rd Edition, thick cr. 8vo, cloth, los. 6d.
EHRENFECHTER (C. A.), Technical Study in the art oPianoforte Playing (Deppe s principles), with numerousillustrations, fourth edition, cr. 8vo, bevelled cl., 28. 6d.
AN ESSAY ON THE THEORY AND PRACTICE OF TUNINGIN GENERAL, and on Schiebler s Invention of TuningPianofortes and Organs by the Metronome in Particular.Trans, by A. Wehrhan, sewed, is.
THE ART OF MODULATION, A Hand-book Showing ata Glance the Modulations from one Key to any other onthe Octave, etc,, Edited by Carli Zoeller, 2nd Edition,roy. 8vo, paper, 2s. 6d. or (cloth, 43.)
EHRENFECHTER (C. A.), Delivery in the Art of Pianoforte Playing, on Rhythm, Measure, Phrasing, Tempo,cr. 8vo, cloth, 2s.
BEETHOVEN S PIANOFORTE SONATAS Explained byErnst von Elterlein, trans, by E. Hill, with Preface byErnst Pauer, entirely new and revised edition (theFifth), with Portrait, Facsimile and View of House, cr.
8vo, cloth, 35. 6d.
BEETHOVEN S SYMPHONIES in their Ideal Significance,explained by Ernst von Elterlein, translated by FrancisWeber, with an account of the facts relating to Beethoven s loth Symphony, by L. Nohl, Second Edition,with Portrait, cr. 8vo, cloth, 33. 6d.
PIANOFORTE SCALES in Thirds and Sixths for EachHand in all the Major and Minor Keys, Fingered andArranged by M. Rock, folio, 2S.
BEETHOVEN S SYMPHONIES Critically discussed byA. T. Teetgen. Second Edition, cloth, 33. 6d.
W. REEVES, 83, CHARING CROSS ROAD, W.C. 15
THE DEPPE FINGER EXERCISES for rapidly developing an Artistic Touch in Pianoforte Playing, carefully
arranged, classified and explained by Amy Fay, EnglishFingering, folio, is. 6d. (Continental Fingering, is. 6d.)
How TO PLAY CHOPIN. The Works of Chopin andtheir proper Interpretation. By KLECZYNSKI, translated
by A. WHITTINGHAM, sth. Ed., Woodcut and Music Illut,
Post 8vo, cloth, 33. 6d.
SCHUMANN S RULES MAXIMS for young Musicians, 4d.PRACTICE REGISTER for Pupil s Daily Practice. Aspecimen, id., or is. 4d. per 100.
REEVES VAMPING TUTOR, Art of ExtemporaneousAccompaniment or Playing by ear on the Pianoforte,
rapidly enabling anyone having an ear for music (withor without any knowledge of musical notation) to
accompany Waltzes, Polkas, Songs, and with equalfacility in any key, with practical examples, includingMa Normandi (in 0), Lilla s a Lady, The Swiss Boy,Home Sweet Home, Blue Bells of Scotland, NancyDawson, Ma Normandi (in A), The Miller of the Deeby Francis Taylor, folio, 2S.
MOZART S Don Giovanni, a Commentary, from the
3rd French Edition of Charles Gounod, by W. Clarkand J. T. Hutchinson, cr. 8vo, clothes. 6d.
TUNING THE PIANOFORTE. SMITH (Hermann), TheArt of Tuning the Pianoforte, a New and Comprehensive Treatise to enabla the musician to Tune his Pf.
upon the system founded on the Theory of Equal Temperament, cr. 8vo, limp cloth, New Edition thoroughlyRevised, 2S.
A HISTORY OF PIANOFORTE Music, With Critical
Estimates of its Greatest Masters and Sketches of
their Lives by John C. Fillmore, cr. 8vo, cloth, 35. 6d.
TRANSPOSITION AT SIGHT, For Students of the Organand Pianoforte, by H. Ernst Nichol, and Edition, cr.
8vo, sewed, paper, is. (cloth, is. 6d.)
THEHow TO REPAIR VIOLINS AND OTHER MUSICAL INSTRUMENTS With Diagrams, by Alfred F. Common, cr. 8voboards, is.
INFORMATION FOR PLAYERS, OWNERS, DEALERS ANDMAKERS OF Bow INSTRUMENTS, ALSO FOR STRING MANU-
l6 W. REEVES, 83, CHARING CROSS ROAD, W.C.
FACTURERS, taken from Personal Experiences, Studiesand Observations by William Hepworth, with Illustrations of Stainer and Guarnerius Violins, etc., cr. 8vo,cloth, 2s. 6d.
NOTICE OF ANTHONY STRADIVARI, the celebrated Violin Maker known by the name of Stradivarius, precededby Historical and Critical Researches on the origin andTransformations of Bow Instruments, and followed by aTheoretical Analysis of the Bow etc,, by F. J. Fetis,translated by J. Bishop, Facsimile, 8vo, cloth, 53.
BIOGRAPHICAL DICTIONARY OF FIDDLERS, includingPerformers on the Violoncello and Double Bass, Pastand Present, containing a Sketch of their Artistic
Career, together with Notes of their Compositions, by A,Mason Clarke, 9 Portraits, post 8vo, cloth, 53.
How TO MAKE A VIOLIN, Practically Treated, 2 Folding Plates and many Illustrations, by J. Broadhouse,cr. 8vo, bevelled cloth, 33. 6d.
VIOLIN MANUFACTURE IN ITALY AND ITS GERMANORIGIN, by Dr. E. Schebek, translated by W. E.
Lawson, 8vo., sewed, is.
SKETCHES OF GREAT VIOLINISTS AND GREAT PIANISTS.
Biographical and Anecdotal, with Account of the Violin
and Early Violinists (Viotti, Spohr, Paganini, De Beriot,Ole Bull, dementi, Moscheles, Schumann (Robert and
Clara), Chopin, Thalberg, Gottschalk, Liszt), by G. T.Ferris ; Second Edition, cr. 8vo, bevelled cloth, 33. 6d.
(or cloth, gilt edges, 43. 6d.)
FACTS ABOUT FIDDLES, Violins Old and New. By J.Broadhouse, 3rd Edition, 6d.
TECHNICS OF VIOLIN PLAYING. By KARL COURVOISIER.With Illustrations. 8th Edition, paper is. (or cloth, thick
paper, as. 6d.) Highly commended by Joachim.
How TO PLAY THE FIDDLE, for Beginners on theViolin. By H. W. and G. Gresswell. yth edition, is.
(cloth, 2s.)
AUTOBIOGRAPHY OF Louis SPOHR. 2 volsin i, thick
8vo, cloth, 73. 6d. (pub. 153.)
TREATISE ON THE STRUCTURE AND PRESERVATION OPTHE VlOLIN AND ALL OTHER BOW INSTRUMENTS, togetherwith an account of the most celebrated makers and of
the genuine characteristics of their Instruments, by J. A,
Otto, with additions by J. Bishop, cr. 8vo, cloth, 33.
W. REEVES, 83, CHARING CROSS ROAD, W.C. 17
1 ORGAN WORKS.
MODERN ORGAN TUNING, the How and Why, clearlyexplaining the Nature of the Organ Pipe and the Systemof Equal Temperamenttogether with an Historic Recordof the Evolution of the Diatonic Scale from the GreekTetrachord by Hermann Smith, crown 8vo, cloth, 33. 6d.
ANALYSIS OF MENDELSSOHN S ORGAN WORKS, a Studyof their Structural Features, for the use of Students,
by Joseph W. G. Hathaway, Mus.B. Oxon., 127 Musical
Examples, portrait and facsimiles, cr. 8vo,bevelled cloth,
43. 6d.
ORGANIST S QUARTERLY JOURNAL of Original Compositions. Edited by Dr. W. Spark, 55. per part. ForContents see end of Catalogue.New Series Volume, 160 large pages, oblong folio, bound
in cloth, i8s.
RINK S PRACTICAL ORGAN SCHOOL: A New Edition,
Carefully Revised. The Pedal Part printed on a separate Staff, and the Preface, Remarks and Technical
fc Terms translated from the German, expressly for this
edition by John Hiles. The Six Books Complete, hand-
\ somely bound in red cloth, gilt edges, ob. folio, los. 6d.
(issued at 2os.), or the six parts 73. 6d. (issued at 6s. each.)ORGANS AND ORGANISTS IN PARISH CHURCHES, AHandbook of the Law relating to the Custody, Controland Use of Organs, and to the Position, Lights, andDisabilities of Organists, to which is Added a Chapteron the Hiring of Pianos, and on " The Three Years
System," by William C. A. Blow, M.A., Oxon., of theInner Temple, Esq., Barrister-at-Law, cr. 8vo, cl., 2S.6d.
A SHORT HISTORY OF THE ORGAN, Organists, andServices of the Chapel of Alleyn s College, Dulwich,with Extracts from the Diary of the Founder, by W. H.Stocks, cr. 8vo, sewed, is.
THE INFLUENCE OF THE ORGAN IN HISTORY. ByDudley Buck, is.
HENRY SMART S ORGAN COMPOSITIONS Analysed.By J. Broadhouse, cr. 8vo, cloth, 2s. 6d.
REFORM IN ORGAN BUILDING, by Thomas Casson, 6d,
THE ORGAN, Its Compass, Tablature, and Shortand Incomplete Octaves, by John W. Warman, A.C-O.,
imp. 8vo, sewed, 35. 6d. or boards, cloth back, 45. 6d.
l8 W. REEVES, 83, CHARING CROSS ROAD, W.C.
CATECHISM for the Harmonium and American Organ,by John Hiles, post 8vo, sewed, is.
RIMBAULT (Dr. E. F.), The Early English OrganBuilders and their Works, from the isth Century to thePeriod of the Great Rebellion, an unwritten chapter onthe History of the Organ, Well printed, with woodcuts,post 8vo, cloth, 33. 6d.
IVOICE AND SINGING
[
TWELVE LESSONS ON BREATHING AND BREATH CONTROL, for Singers, Speakers and Teachers, by Geo. E.
Thorp, crown 8vo, limp cloth, is.
TWENTY LESSONS ON THE DEVELOPMENT OF THBVOICE, or Singers Speakers and Teachers, by Geo. E.
Thorp, crown Pvo, liirp cloth, is.
50 MUSICAL HINTS TO CLERGYMEN, Management of
Breath, Classification of Male Voices, Management of
the Voice, The Service, with twenty specially writtenExercises by Geo. F. Grover, is.
CATECHISM OF PART SINGING AND THE CHORAL SER-vices. By John Hiles, 3rd Edition, thick post 8vo, price is.
Advice to Singtrs on every foint of interest in reference to the Vocal Organs
How TO SING AN ENGLISH BALLAD. By E. Philp,yth Edition, 6d.
VOCAL EXERCISES FOR CHOIRS AND SCHOOLS. By Dr.
Westbrook, 2d.
RUDIMENTS OF VOCAL Music. With 42 PreparatoryExercises, Rounds and Songs in the Treble Clef, byT. Mee Pattison, 2nd Ed., 4d.
SOME FAMOUS SONGS, an Art Historical Sketch. ByF. R. Ritter. is.
VOICE PRODUCTION AND VOWEL ENUNCIATION, byF. F. Mewburn Levien, Diagrams by Arthur C.Behrend,post 8vo, 6d.
POSITION AND ACTION IN SINGING, a Study of theTrue Conditions of Tone, a Solution of Automatic (Artistic) Breath Control, by Edmund J. Myer, cr. 8vo,
43. 6d.
NATIONAL SCHOOL OF OPERA IN ENGLAND; being The
Substance of a Paper read before the Licentiates of
Trinity College, March, 1882, by Frank Austin, postSvo,sewed, 6d.
W. REEVES, 83, CHARING CROSS ROAD, W.C. I
How TO UNDERSTAND WAGNER S " RING OF THENIBELUNG, being the Story and a Descriptive Analysisof the "Rheingold," the "
Valkyr,""
Siegfried" and
the " Dusk of the Gods," with a number of Musical
Examples by Gustave Kobbe, Sixth Edition, post 8vo,
cloth, 38, 6d."To be appreciated in the smallest way Wagner must be studied in
advance." Illustrated London News.
RATIONAL ACCOMPANIMENT TO THE PSALMS by F. Gilbert Webb, post 8vo, 6d.
How TO PLAY FROM SCORE. Treatise on Accompaniment from Score on the Organ or Pianoforte byF. Fetis. trans, by A. Whittingham, cr. 8vo, cloth, 33. 6d.
CHOIR LISTS FOR SUNDAY SERVICES.No. i. Morning and Evening, printed in red, is 4d.
per 100.
No. 2. Morning, Afternoon, and Evening, printed in
red, is, 6d. per 100.
No. 3. Morning and Evening, printed in red and
black, is. 8d. per 100.
No. 4. Morning and Even., printed in red is. 4d.
per 100.
No. 5. Quarto Size, Matins, Litany, Holy Communion, First Evensong, Second Evensong, Gothic
Letter, printed in red, 6d. per dozen, 35. per 100.
CHOIR ATTENDANCE REGISTER, 8vo, cloth.
No. i. Ruled for a Choir of 20 or less, for one year,
beginning at any date, is. 6d.
No. 2. Ruled lor a Choir of 40 or less, for one year,
beginning at any date, as.
No. 3. Ruled for a choir of 60 or less, for one year,
beginning at any date, 2s. 6d.
Performing Edition.
THE CREATION, A Sacred Oratorio composed byJoseph Haydn, Vocal Score, The Pianoforte Accompaniment arranged and the whole edited by G. A.
Macfarren, 8vo, paper covers, as., boards, 2s. 6d., scarlet
cloth, 43.
FROM LYRE TO MUSE, A History of the AboriginalUnion of Music and Poetry, By J. Donovan, cr, 8vo,
cloth, 23, 6d.
2O W. REEVES, 83, CHARING CROSS ROAD, W.C.
POPULAR PART SONGS.1. Merrily goes the Mill, by T. B. Southgate, id.
2. Take, O Take those Lips away, Part Song for
S.A.T.B. by Claude E. Cover, A.R.C.O., id.3. Pack Clouds Away, for S.A.T.B., by Claude E.
Cover, A.R.C.O., ad.
4. Summer Roses, for S.A.T.B., by G. RayleighVicars, 2d.
5. Erin, Dear Erin, for T.A.T.B., by Churchill
Sibley, 2d.6. Caledonia ! Land o the Rocky Dell, for S.A.T.B.,
by Churchill Sibley, sd.
TO ALL MUSICIANS. Hereis something worth
<^fc-) reading and when you
[Special price see below-] have read {i send for
a copy without delay.
The Publisher of THE MUSICAL STANDARD has secured the
whole of the copies left unsold at 14/- net by Messrs. S. Low,Marston and Company, Ltd., of the work entitled
THE 500 Photo Portraits.
NATIONAL PORTRAIT GALLERYOF
BRITISH MUSICIANS.;;;BY JOHN WARRINER, Mus.D.,
TRINITY COLLEGE, DUBLIN.
INTRODUCTION BY JOSEPH BENNETT.fi;f .
:
<K"-*? .::L (JiH ilqs^u?
Over 500 Photo Portraits
Of well-known and eminent living Musicians of Great Britai
and Ireland, with short Biographical notice of each.
The Whole Bound in One Handsome oblong folio
Volume, cloth lettered. Offered for 7/6 post free
(or 8/- post free abroad).
W. REEVES, 83, CHARING CROSS ROAD, W.C. 21
KING S ROYAL ALBUMS, Nos 1 and 2.
NATIONAL AND PATRIOTIC SONG ALBUM.With Pianoforte Accompaniment. In 2 Bks., is. each.
BOOK 1. BOOK 2.
God Save the King Hearts of OakGod Bless the Prince ofWales Stand UnitedThere s a Land (Dear Eng- The Cause of England s
[land GreatnessVictoria The Last Rose of SummerGod Bless our Sailor Prince The Leather Bottle
Here s a Health unto His Home, Sweet Home[Majesty Three Cheers for the Red,
Lord of the Sea White and BlueRoast Beef of Old England The Minstrel BoyThe Blue Bells of Scotland The British GrenadiersTom Bowling Auld Lang SyneCome Lassies and Lads Rule BritanniaYe Mariners of EnglandThe Bay of Biscay
King s Royal Albums, No. 3. Price l/-10 MARCHES FOR THE PIANO. BY J. P. SOUSA.
1. The Washington Post. 7. Our Flirtation.
2. Manhatton Beach. 8. March past of the Rifle
3. The Liberty Bell. Regiment.4. High School Cadets. 9. March past of the
5. The Belle of Chicago. National Fencibles.6. The Corcoran Cadets. 10. Semper Fidelis.
King s Royal Album, No 4. Price 1 -
SIX ORGAN PIECES FOR CHURCH USE.EDITED BY WILLIAM SMALLWOOD.
With Ped. Obb., Selections from rarely known works.1. Moderate con moto 4. Andante Religiose2. Adagio Expressive 5. Andante con moto3. Andante Moderate 6. Lento Cantabile
King s Royal Album, No. 5. Price I/-
SMALLWOOD S ESMERALDA ALBUM FOR PIANO.
Belgium (Galop). Esmeralda (TranscriptionBelle of Madrid (Tempi di on Levey s Popular Song),
Polka). Placid Stream (Morceau).Emmeline (Galop). The Seasons (Galop).
22 W. REEVES, 83 CHARING CROSS ROAD, W.C.
King s Royal Album, No. 6. Price 6d.
BALFE S ROSE OF CASTILLE, 6 FAVOURITE MELODIES.
easily arranged for the Pianoforte by E. F. Rimbault.
1. Convent Cell (The).2. Twas Rank and Fame.3. Tho fortune darkly o er me frown.
4. I am a simple Muleteer.
5. I m not the Queen.6. List to the Gay Castanet.
King s Royal Album, No. 7. Price la.
10 MARCHES. BY J. P. SOUSA.Arranged for Mandoline and Piano.
1. The Washington Post. 7. Our Flirtation.
2. Maohatton Beach. 8. March past of the Rifle
3. The Liberty Bell. Regiment.4. High School Cadets. 9. March past of the
5. The Bell of Chicago. National Fencibles.6. The Corcoran Cadets. 10. Semper Fidelis.
King s Royal Album, No. 8. Price Is.
10 MARCHES. BvJ. P. SOUSA.Arranged for Banjo and Piano. (Contents as No. 7.)
King s Royal Album, No. 9. Price is
10 MARCHES. BY J. P. SOUSA.Arranged for Violin and Piano. (Contents as No. 7.)
King s Royal Album, No. 10. Price It.
10 MARCHES. BY J. P. SOUSA.Arranged for American Organ. (Contents as No. 7.)
King s Royal Album, No XI.
GRIEG S " PEER GYNT " SUITE. (Piano Solo).
1. Dance of the Gnomes. 4. Amitrass Dance.2. Ases Death. 5. Solvejags Song.3. Morning.
King s Royal Album, No. 12.
GRIEG S LYRISCHE STUCKE AND NORWEGIANBRIDAL PROCESSION. (Piano Solo).
1. Arietta. 5. Popular Melody.2. Waltzer. 6. Norwegian Melody.3. Watchman s Song. 7. National Song.
4. Fairy Dance. .8. Norwegian Bridal March
\V. REEVES, 83, CHARING CROSS ROAD, W.C. 23
King s Royal Aluum, No. 13.
GRIEG S FOUR HUMOURESKES, MINUETTO ANDFUNERAL MARCH. (Piano Solo).
King s Royal Album, No, 14.
HIAWATHA MANDOLINE AND PIANO ALBUM.ARRANGED BY SYDNEY OSBORNE.
1. Hiawatha Cake Walk 5. Over the Waves Waltz2. Minnehaha Cake Walk 6. Donau Wellen Waltz
3. Alice Where Art Thou 7. Blue Danube Waltz4. Kathleeu Mavourneen
King s Royal Album, No. 15.
ORIGINALVOLUNTARIESFOR AMERICAN ORGANOR HARMONIUM.
BY EDWIN M. FLAVELL.
1. Andante con Moto 6. Prayer2. Evensong 7. Canzonetta
3. March in F 8. A Call to Battle
4. Chorale 9. Souvenir
5. A Plaintive Song 10. Allegro
King s Royal Album, No. 16.
12 VOLUNTARIES FOR THE AMERICAN ORGANOR HARMONIUM.
BY J. E. NEWELL.1. Postludium 7. Offertoire
2. Communion 8. Andante Piacevole
3. Andante con Moto 9. Morning Prayer4. Prelude 10. Loud Voluntary5. Diapason Movement u. Sketch6. Faith " Melody
"
12. Recessional March
MODERN CHURCH Music.1. Easter Anthem, "Jesus Lives!" by Rev. T.
Herbert Spinney, price 2d.
2. Anthemtor Whitsuntide and General Use, "Come
Holy Ghost our Souls Inspire," by ThomasAdams, F.R.C.O., price 2d.
3. Story of the Ascension, by Rev. John Napleton,price id.
4. Anthem, "God so Loved the World," by J. Jamon-neau, price 2d.
24 W. REEVES, 83, CHARING CROSS ROAD, W.C.
MODERN CHURCH Music (continued).
5. Magnificat in B flat, by Thomas Adams, F.R.C.O.,Price 3d.
6. Nunc Dimittis in B flat, by Thomas Adams,F.R.C.O., Price ad.
7. Four Kyries, by Charles Steggall, Berthold Tours,E. J. Hopkins, J. M. W. Young, price id.
8. Te Deum, by T. E. Spinney, id.9. Anthem, "I am the Good Shepherd," by G.
Rayleigh Vicars, ad.10. Story of the Cross, Music by H.Clifton Bowker,2d.12. Story of the Cross, Music by Dr. Geo. Prior, ad.
13. The Lord s Prayer, Music by Ernest Austin, ad
14. Tallis s Ferial Responses, arr. for four Voices,
Jby R. W. Gibson, ad.
AMERICAN ORGAN, Folio, Edited by Alfred Whitting-ham, in Six Books, is. each, complete paper covers, 33.,cloth bound, 53.
PIANOFORTE (SOLO). Prices Music-net,Coon Band Contest, Cake Walk, by Arthur Pryor, as.
Lefebure-Wely s St. Sulpice. Reminiscence by W.SMALLWOOD, is. 6d.
Album Leaves : Pianoforte Sketches, without Octaves,by F. W. Davenport, is. 6d. each Number.
No. i. Waltz in F No. 3. Prelude in GDance in G [minor Melody in G
No. a. A Little Fugue in F No. 4. Sonatina in CCaprice in C
Tschaikowsky s i8ia Overture, arr. by E. Evans, as.
Amarylliss, Morceaux de Salon, by Leonard Gautier r
is. 6d.
Tschaikowsky s Casse Noisette -Suite, arr. by E. Evans, as.
Grand Festival March, "
Illogan," by H C. Tonking, as.
Tschaikowsky s Valse des Fleurs (from Hit Casse Noisette
Suite), arr. by E. Evans, as.
PIANOFORTE (4 HANDS.) Prices Music-net.
Tschaikowsky s t8ia Overture, arr. from the Full Score
by E. Evans, 33.
Tschaikowsky s Casse Noisette Suite, arr. from the FullSccre by E. Evans, 33.
Tschaikowsky s Valse des Fleurs (from Hie Casse Noisette
Suite), arr. by E. Evans, as. 6d.
W. REEVES, 83, CHARING CROSS ROAD, W.C.
VIOLIN. Prices Music-net.
A Selection of Favourite Airs arranged for the Violin bv
Henry Farmer,complete is.6d. ,Piano Ace. ad lib. as. 6d .
CONTENTS.1. Theme. Variations (Mozart).2. With Verdure Clad (Haydn).3. German Shepherd s Song and Rataplain (Figlia
del Reggimento).4. Da Qual di (Anna Bolena), Souave Immagine
(Mercadante).5. Mecco tu Vieni (La Straniera).
VIOLIN AND PIANO.
Grand Festival March, "
Illogan," by H. C. Tonking, 2S.
MANUSCKIPT MUSIC PAPER(a) 12 Staves, roy. 8vo (10 by 6|) ruled plain in quires (i2OJ
sheets), the lot 2/6.
This is pre-eminenily the Musical Students Paper, as it Is light, portable,smooth and easy to write upon ; each sheet, too will hold a large quantity of
matter. There is no paper better suited for Exercises on Counterpoint andHarmony.
(b) 12 Staves, oblong, folio (14 by 10), ruled in groups of 3staves or Organ Music, 5 quires (120 sheets), the lot,
5/-The paper is of the same size as ordianry oblong folio, Organ Music,
e.g., English Organ Music, Best s Arrangements, etc.
(c) 12 Staves, folio, music size (10 by 14), 5 quires (120 sheets),the lot 5/.
Exactly the same in size as ordinary folio printed music so that upon it
Songs of Orgtn Pieces may be written just as they are to be p inted. It
is a very useful paper, as Manuscript music written on it can be bound withPrinted Music
(A) 12 Staves, quarto size (nf by 9^), 5 quires (120 sheets),the lot 3/6.
(e) 12 Staves, oblong quarto (gj by nf), 5 quires (120 sheets)the lot 3/6.
(f) 12 Staves, folio music size (10 by 14), 5 quires (120 sheets),the lot 5/-
(g) 12 Staves folio music size (ruled even), 10 by 14, 5 quires,
(120 sheets), the lot 5/.
(h) 14 Staves, quarto size (nf by gj), 5 quires (120 sheets),the lot 3/6.
26 W. REEVES, 83, CHARING CROSS ROAD, W.C.
THE ORGANISTS QUARTERLY JOURNAL
f Original (Jtompnaitians.Founded by DR, Wm. SPARK, Late Organist, Town Hall, Lend!
Price s/- each, or Subscription, 10 6 for 4 issues.
New Series, Volume, containing 160 large pages, all with
ped. obb., bound in cloth, 18*.
Part 12. Hew Seriesi. IN MBMORIAM - . Rev. GEOF. C. RYLV. M.A., Mus. Bac. Oxon.a. TOCCATA G. B. POLLERI.3. OVERTURK from Epiphany .... ALFRED KING, M.D.
Park XL, New Series.1. PRELUDE AND FUGUE with POSTLUDE - E. A. CHAMBERLAYNB.2. PRELUDE AND ^UGUE F. YOUNG.3- FUGUE ARCHIBALD DONALD.4. FUGUB WILLIAM HOPE,
Part 10, Rew Series.1. FUGUE ARCHIBALD DONALD.2. PRELUDE AND FUGUE with POSTLUDE - E. A. CHAMBERLAYNB.3. PRELUDE AND FUGUE .... - F. YOUNO.
Part 9, Haw Series,1. ANDANTE CON MOTO - - - W. A. MONTGOMERY, L.T.C.L2. FANTASIA io E minor * - - * CUTHBKRT HARRIS, Mus. B.,
3. POSTLUDE at Ephes. V. v. 19. Si tlbl placeat, Mlhl con displicetW,CONRADI,(Y.OI B. i8i6),PaursOrg.St.Chuich,Sohwerin i/mGermany
4. HARVEST MARCH HENRY] POOLS,
Part 8, Hew SeriesSCHERZO MINUET W.MULLINEUX, Organist of the Town Hall.Bolton.
2. INTRODUCTION to the Hymn on the Passion, O Haupt Voll Bint andWunden "
W. CONRADI. Organist Paul s Church, Scbwerin, Germany,3. THESIS AND ANTITHESIS, or DISPUTE, APPEASEMENT, CONCILIATION
W> CONRADI, Organist Paul s Church, Schwerln, Germany.4. CARILLON in B - - CUTHBERT HARRIS, Mus. B..F.R.C. O., &c.
5. ANDANTE Hope" INGLIS BERVON.C. ORCHESTRAL MARCH in C
JAMES CRAPPER. L. Mas., Organist of the Parish Ch., Kirkcudbright,
Part 7, Mew Series.i. ANDANTE GRAZIOSO in G- - CHAS. B. MBLVILLB, F.R.C.O.t. POLISH SONG, Arranged for the organ by PERCIVAL GARRBTT. - CHOPIN.
3. INTRODUCTION, VARIATIONS, and FINALE on the Hymn Tune Rook-
inghain.1 CH. R. FISHIR, Mus. B.
4. Two SOFT MOVEMENTS W. C. FILBY, I.S.M.
i."
Espirance." a. "Tendrerse." .
5. ANDANTE In A fiat
W. GRIFFITHS, Mns. B , Org. ol St. Sepulchre Chnrob, NorthamptonFuouB,4 Voice, 3 Subjects DR. J. C. TILLT.
W. REEVES, 83, CHARING CROSS ROAD, W.C. J
The Organist s Quarterly Journal (cont.).
Part 6, lew Series.I, COM MOTOMODBRATO In C
ORLANDO A. MANSFIELD, Mus.B., F.R.C.O., TXMPO DI MBNUBTTO GBO. H. ELY.
3, DJRGB IN MBMORIAM, REGINALD ADKINS -J. E. ADKINS, F.R.C.O.
4, ANDANTE in F R. H. HEATH.5, ABERYSTWYTH OFFERTOIRE - - - -
J. G. MOUNTFORD.i. ANDANTE in D (Priire) - - - E. EVELYN BARRON, M. A.
Part 8, Hew Series,i. ALLEGRETTO SCHBRCANDO in A flat - W. E. ASHMALL.
. ANDANTE RBLIG:OSO in G DR J, BRADFORD.
3 MARCH POMPOSO in E flat - - - - CHARLES DARNTON.4. ANDANTE CON MOTO "Twilight"
- CH. R. FISHER, Mus.B.
5. MINUET In F WE. BELCHKR, F.R.C.O.
Part I, Hew Series.i. ANDANTE MODERATO F, READ.I. PRBLUDR AND FUGUE in D minor - - - E. A. CHAMBERLAYNB.3. SKETCH ARTHUR GBO. COLBORN.
, 4. FUGUE JAMES TURPIN.5. ALLEGRO CHARLES H. FISHER.6. MARCHB MYSTIQUE
THEME BY ROLAND, DE LASSUS. A Relic of Ancient Times.
Part 3, Hew Series.
i. MINUET AMD TRIO in F - ED. J. BELLBRBY, Mus. B., Oxen."* DUNDEE "
("or French") .... JOHN P. ATTWATER.5, ADAGIO. An Elegy In G minor - - CHAS. R. FISHER. Mus. B.
4. ANANTB. A major F. HONE.5. ALLEGRO, D minor GEO. MINNS (Ely).
Part 2, New Series.
i. TOCCATA FANTASIA (Study in C minor) - - E. T. DRIFFIELD.t, ANDANTE GRAZIOSO - W. FAULKES.
3. MARCHE FUNEBRB .... ARTHUR WANDEKKR.4. ANDANTE SEMPLICB - - - - - E. A. CHAMBBRLAYNE.5. FESTAL MARCH .... - - A. W. KsTELBBy.
Part i, Hew Series.
i. OFFERTOIRE in A minor - - - FRED. W. DAL (Leipzig),a, SECOND FANTASIA on SCOTCH AIRS - - - WILLIAM SPARK.
3. ADESTK FIDELES with Variations and Fugue) - CHARLES HUNT4. INTERMEZZO G.TOWNSHEND DRIFFIELD
Part 103 (Old Series).
i. POSTLUDE in G .... FREDERICK W. HOLLOWAY.F.C.OSUITE: No. i, PRELUDE ;
No. 2, BERCEUSE; No. 3, TOCCATALAURENT PARODI (Genon
3. NOCTURNE WILLIAM LOCKETT.
4\ ANDANTE PASTORALE in B minor JACOB BRADFORD; Mus. D., Oxon5. INTRODUCTORY VOLUNTARY - - - ALBERT W. KETELBEY.6 FUGUE R. J. ROWE, L.R.A M.
LONDON: WILLIAM REEVES, 83, CHARING CROSS ROAP, W,C.
Note the Price, PENCE not SHILLINGS.
POPULAR AND COPYRIGHT MUSIC.Fall Music Size, Well Printed and Critically Correct.
ISSUED BY
D WILLIAM REEVES. O(Postage &d. each.) (Postage id. each.)
VOCAL.Alice where art thou ?
Always do as I do
Angels at the Casement, A flat
Banner of the King ... ...
*
.,
Barney O HeaBay of BiscayBorder Lands (Sacred)Borderer s Challenge ...
Cat in the ChimneyChild s Good MorningChild s Good NightCome into the Garden Maud ...
Crossing the Brook ...
Dawn of HeavenDiver, T ia
God Save the KingHearts of OakHoney Are You True to Me (Coon Song)Kathleen MavourneenLady Clara Vere de VereLast Good Bye to MotherLast Rose of Summer ...
Listen ...
Maggie s Promise
Sharing the BurdenTom Bowling ... .,,
When other Lips (Then you ll remember me) ...
VOCAL DUETS190. Flow on thou Shining River ...
116. Gipsy Countess ...
PIANOFORTE.118. Ala Valse275. Alice where art thou ? (easily arr. by)278. Army and Navy March457. Au Village268. Battle March (Delhi)873. Belgium Galop,...
273.
396.
174.
105.
172.
224.
181.
180.
890.
892.
391.
383.
184.
389.
188.
384.
226.
100.
266.
213.
404.
227.215.
249.
115.
225.
236.
. A seller
TinneyW. M. Hutchison
H. FortesqiteS. Lover
J. LaveyMiss Lindsay
H.J. Stark
L. Kingsmill0. Barri
0. Barri
BalfeEdith Coohc
Buonetti
E. J. Loder
Dr. Jno. Bull
Dr. W. BoyceLindsay LennoxCrouchMiss LindsayC. Dargan7 hcs. MooreA . H. BehrendW. Gordon
J. E. Webster
C. Dibdin
Sir J.\StevensonGlover
Roeckel
Percy E. DouglasHenzell
TschaikowskyPridhamSmallwood
Cheap Huiic (continued).* 37. Belle of Chicago March f. P. Susa122. Berceuse ... ... ... ... RoecTcel
376. Blumenlied ... ... ... ... Gustav Lange379. Bridal Chorus and Wedding March ... Wagver453. Cadet Two Step (easily arranged) ... Alard142. Charming Mazurka ... ... ... Gungl456. Chanson Triste ... ... ... ... Tschaikowshy455. Chant sans Paroles ... ... ... Tschaikowshv893. Chinese Patrol March D. Pecorini
243.1Cloches du Monastere Lefebure-Wtly458. Coon Band Contest A. Pryor438. Corcoran Cadets March J.P.Sousa125. Corricolo Galop (Easily arranged) ... L. Mullen377. Edelweiss Gustav Lange
374. Emmeline Galop ... ... ... Smallwood308. Fille du Regiment Oesten,
167. Flying Dutchman (La Vaisseau Fantome) Wagner244. Forward March E.H.Sugg
Four Hnmoreaqnes :
206. Valse in D, No. 1 Grieg207. Minuetto in A minor. No. 2 ... Qrieg208. Allegretto, No. 8 Grieg209. Allegro Alia Burla, No. 4 ... Grieg210. Funeral March .*. Grieg305. French Air (Marseillaise) ... ... Eric Stapleton306. German Air (Watch on Rhine) ... Eric Staple* n
264. Gipsies March C. Heins252. Grand March (arr. by P. E. DouglaE) Blake151. Grand March of the Warriors ... H. V. Lewis276. Hiawatha Cake Walk, (arr. by P. E.
Douglas) Moret436, High School Cadets March J. P. Sousa304. Irish Air (Last Rose of Summer) ... Eric Staplet n303. Italian Air (Ah che la Morte) Eric Stapleton288. Japanese National Hymn, Harmonized
by Sydney Osborne.133. Kassala Gavotte H.Wilcoclc270. Kathleen Mavourneen ... P.E.Douglas171. Khartoum Quick March .. ... F. P. Rabottini286. King s Own March ... Warwick Williams246. Liberi.y Bell March Sousa135. Little Dear Gavotte F. Astrella
162. Lohengrin Wafner136. Maiden s Prayer ... ... ... Badarazewska435. Manhattan Beach March J.P.Sousa137. March in E flat L. B. Mallett
441. March Past of th National Fencibles J. P. Sousa440. March Past of the Rifle Begiment ... J. P. Sousa
140. May-Day Galopade J. Gungl
Cheap Music (continued).141. Mazurka ... ... ... ... Bjdarazeivska.143. Melodie RoecTtel
247. Melody in F Rubinstein211. Minuetto (fro-n E minor Souata) ... Grieg163. Mountain Echo March ... ... ... G.Gaviboldi385. Narcissus ... .... ... ... Nevin439. Our Flirtation March J. P. Sousa147. Placid Stream Smallwood103. Queenie (Intermezzo) ... ... ... P. D Orsay165. Rienzi Wagner253. Robin s Return (arr. by P. E. Douglas) Fischer148. Scherzino Roeckel801. Scotch Air (Blue Bells of Scotland) ... Eric Stapletin
875. Seasons Galop Smallwood442. Semper Fidelis J. P. Sou*a196. Silvery Echoes ... Blake894. Soldiers Chorus ( Faust) ... ... Gounod\881. Sonatina in F ... ... ... ... Beethoven380. Sonatina in G ... ... ... ... Beethoven802. Spanish Air (Dance) Eric Stapleton378. Stephanie Gavotte A.Czibuflca166. Tannhauser ... ... ... ... Wagner150- Tarantella L. B. Mallett
290. Washington Post March (easy) ... J. P. Sousa454. White Wirga (Trftnscription) ... Smallivood
291. Woodland Echoes WynwnPIANO DUETS.
367. Come o er the Stream Charlie ... A. Mullen371. From Greenland s Icy Mountains ... A. Mullen372. I d Choose to be a Daisy A. Mullen154. Maiden s Prayer Badarazeivk166. March of the Cameron Men A.Mullen155. Marche des Creates A.Mullen159. Minnie, or Lilly Dale ,, A. Mullen353. Silvery Waves (Wymau) Andre
DANCE.388. Amorosa Mazurka ... ... ... A. H. Oswald387. Blue Bells Sohottieche S.Leslie
262. Blue Danube Waltz Strauss
382. British Army Polka Alec Garlton
285. City Polka J. D. Wimpenny161. Cosmopolitan Quadrille ... ... L. Gautier
127. Cyprus Polka Scotson Clark
402. Donau Wellen Waltz (Easily arr. by) Percy E. Douglas101. Electric Waltz H.Klein397. Esmeralda Waltz (easily arranged) ... S. Osborne
395. Fancy Dress Ball Quadrilla ... Rosenberg413. Faust Waltz (arr. by P. E. Duugla*) ... Gounod
Cheap Music (continued).250. Flora Waltz IV. Gordon386. Honse Guards Sehottische 5. Lestit
102. Lucifer Polka H.Klein251. Niagara Waltz Vorzanger144. Munich Polka ... Jos.Gungt403. Olympia Schottinehe Sydney J. Smith254. Over the Waves (Sobra las Olas) ... .Rosas
866. Roseland Waltz Marietta Lena415. Sweetheart Polka ... Gounod265. Vinolia Schottisohe P. Lester
268. Woodland Whispers Waltz Stanley
VIOLIN AND PIANO.266. Campbells are Coming A.Mullen257. British Grenadiers A. Mullen258. A Life on the Ocean Wave A. Mullen259. Hearts of Oak A.Mullen260. Ivy Green A. Mullen261. Red, White and Blue A.Mullen317. Ben Bolt A.Mullen312. Low Baok d Car A.Mullen313. Sprig of Shillelagh A.Mullen814. March from Norma ... ... ... A. Mullen315. March, Guillaume Tell A.Mullen316. Lass O Gowrie A.Mullen284. Reverie (E min.) W. Vinnicombe
VIOLIN.170. March St. Olave F. James
MANDOLINE AND PIANO274. Alice where art Thou ?
407. Belle of Chicago March J. P. Sousa4Q6. Blue Danube Waltz Strauss
416. Cadet Two Step (arranged) Alard408. Corcoran Cadets March J. P. Sousa
272. Donau Wellen Waltz ... ... ... Ivanovici
414. Faust Waltz and Flower Song ... Gounod277. Hiawatha Popular Cake Walk ... Neil Moret401. High School Cadets March J. P. Sousa289. Honey are you true ... ... ... Sydney Osborne267. Kathleen Mavourneen ... ... ... Crouch]399. Liberty Bell March J. P. Sousa400. Manhattan Beach March J. P. Sousa411. March Past of the National Fencibles /. P. Sousa.
410. March Past of the Rifle Regiment ... /. P. Sousa255. Oceana Schottische IV. H. Steven
279. Over the Waves Rosas
409. Our Flirtation March J. P. Sousa412. Semper Fidelia March J. P. Sousa
398. Washington Post March J. P. Sousa
32 W. REEVES, 83, CHARING CROSS ROAD, W.C.
BANJO AND PIANO429. Belle of Chicago March405. Cadet Two Step (arranged)430. Corcoran Cadets March428. High School Cadets March ...
419. Liberty Belle March418. Manhattan Beach March433. March Past of the National Fenoibles
432. March Past of the Kifle Regiment ...
431. Our FlirSa ion March434. Semper Fidelis March417. Washington Post March
J. P. SousaAlardJ. P. Sonsa
J. P. Sousa
J. P. SousaJ. P. SousaJ. P. SousaJ. P. SousaJ. P. Sousa
J. P. Sousa
J. P. Sousa
THE VIOLIN TIMES,Edited by E. POLONASKI.
Subscription, 2s. 6d., per YearVOLS. 1 TO 8, BOUND, PRICE 6/- EACH.
Illustrated Supplements have appeared Including the following (2\d. each.)
Monthly, 2d.,
(by post 2dAbroad, 3s.
Covers for binding2s. each.
Index 2d. each.
PORTRAITS
W. REEVES, 83, CHARING CROSS ROAD, W.C. 35
ATI "FTPA1TI Q QHTTPTT Published by W. REEVES,Ull L I eUUlfclbUlll y 83 charing Cross Road, W.C.
12mo, red cloth, gilt, 323 pp., 3/6.Carlile (R.). Manual of Freemasonry, containing the First
Three Degrees, The Royal Arch and Knights TemplarDruids, The Degrees of Mark Man, Mark Master, Architect,Grand Architect., etc., etc.
12mo, blue cloth gilt, 374pp., 3/6.Fellows (J.)i Mysteries of Freemasonry; or, An Exposition
of the Religious Dogmas and Customs of the Ancient
Egyptians ; showing, from the origin, nature and objects of
the rites and ceremonies of remote antiquity, their identitywith the Order of Modern Masonry, with some remarks onthe Metamorphosis of Apuleius. with numerous woodcuts.
12mo, green cloth, gilt. 254 pp., 3/6.Ritual and Illustrations of Freemasonry, accompanied by
very numerous engravings,and, a Key to the Phi Beta Kappa.8.vo, sewed, 26 pp., II-
Investigation into the Cause of the Hostility of the Churchof Rome to Freemasonry, and an Inquiry into Freemasonryas it Was, and Is : with Criticism as to how far the Order fulfils
its Functions, by Author of "Text Book of Freemasonry."
Post 8vo, sewed, 48 pp., I/-
Jachin and Boaz; or, an Authentic Key to the Door of
Freemasonry, both Ancient and Modern.Post 8vo, sewed, 5O pp. i/ -
Three Distinct Knocks at the Door of the Most AncientFreemasonry.
8vo, sewed, II-
The Origin of Freemasonry, or the 1717 Theory Explodedby C. J. Paton.
8vo, paper, 2/6 net. (post free 3/-)Weisse (John A.), The Obelisk of Freemasonry, according
to the Discoveries of Belzoni and Commander Gorringe :
also Egyptian Symbols compared with those discovered in
American Mounds.
"FifthTthousand, 12mo, cloth, II- net.
Pocket Lexicon of Freemasonry, by W. J. Morris 18P.D.D.G.M., St. Lawrence, District and Past InspectorGen. Royal and Select Masters.
I2mo, cloth, 62 pp,, 2/-Fox (T. L.), Freemasonry ;
An Account of the Early Historyof Freemasonry in England, with Illustrations of the
Principles and Precepts advocated by that Institution.
The above POST FREE on receipt of remittanceor price named.
34 W. REEVES, 83, CHARING CROSS RD. W.C.
Books on Freemasonry 3?12mo, blue cloth, red edges, 270 pp., 5/-
Text Book of Freema sonry ;a Complete Handbook of In
struction to all the Workings in the Various Mysteries andCeremonies of CRAFT MASONRY, containing the Entered
Apprentice, Fellow-craft, and Master Mason s degrees ; the
Ceremony of Installation of the VV. Master and Officers of the
Lodge, together with the whole of the Three Lectures ; also
the Ceremony of Exhaltation in the Supreme Order of the
Holy Koyal Arch, a Selection of Masonic Songs, etc., illus
trated with four engravings of the TRACING BOARDS, by11 A Member of the Craft," new and revised edition.
Ditto Ditto, on thin paper, bound in leather pocket-bookstyle, 5s.
The Three Tracing Boards, in 12mo, cloth line, Is. 6d.
Post 8vo, cloth, 10/- (or crimson calf limp, gilt edges, 15/- net.)Text Book of Advanced Freemasonry, containing for the
self-Instruction of Candidates, the COMPLETE RITUALS of theHIGHER DEGREES, viz., Royal Ark Mariners, Mark Master,
Royal Arch, Red Cross of Rome and Constantinople, KnightsTemplar and Rose Croix de Heredom ; also Monitorial In-
structions on the 30th to the 33rd and last degree of Free
masonry, to which are added Historical Introductions andExplanatory remarks by the Author of the " Text Book."
Post 8vo, cloth, 3/6-
MASONIC SONGS AND POEMSBY BARDS CHIEFLY OF THEi 9th AND 2oth CENTURIES
COMPILED BY
A. C. STEPHEN.Third Edition, 8vo. boards, cloth back, 6/- net (by post 6/4; )
THE INTERNATIONAL
DIRECTORY OF PATENT AGENTS-NEW AND ENLARGED EDITION (the third),
Contains over 4000 Patent Agents, practising in all parts of the
world. Arranged Alphabetically, and, also Geographically.
London ; W. Reeves, 83, Charing Cross Road, W.C.
W. REEVES, 83, CHARING CROSS ROAD, W.C. 35
The Set of 15 Numbers 2/6 post free. Or 2d. each (Post free 2$.)
PARISH CHURCH MUSIC.A Collection of Original, Practical, Modern Compositions Tunes, Canticles,
Chants, etc., for use in "Choirs and Places where they Sing." ;
No. i. Ten Tunes to the Hymn, "ABIDE WITH ME,"
including Three Prize Tunes.No. 2. Ferial Confession, "STORY OF THE CROSS,
Choir Prayers with Antiphon, by G. E. Lake,No. 3. Five Tunes to the Hymn, "BOOK OF AGES,"
including Three Prize Tunes.N . 4. Six Quadruple Chants for the " TE DEUM,"
including the Three Pn ize Tunes.No 5. Ten Tunes to the Hymn, "SUN OF MY SOUL,"
including Three Prize TunesN .->. 6. Ten Tunes to "JERUSALEM THE GOLDEN,"
including Three Prize Tunes.No. 7. Six Tunes to the Hvmn, "NEARER MY GOD
TO THEE," including the Three Prize Tunes.No. 8. Eleven Tunes to the Hymn, "HARK, HARK
MY SOUL," including Three Prize Tunes.No. 9. Six Tunes to the Hymn, "LEAD KINDLY
LIGHT," including the Three Prize Tunes.No. 10. Four Tunes to the Hymn, "JESUS, LOVER OF
MY SOUL," including the Three Prize Tunes.No. ii. Five Tunes fco the Hvmn, "LO! HE COMES
WITH CLOUDS DESCENDING," including theThree Prize Tunes.
No. 12. Five Tunes to the Hymn, " I HEARD THEVOICE OF JESUS SAY, including the Three PrizeTunes.
Mr. 13. Six Tunes to the Hymn, "FOR THEE, DEAR,DEAR COUNTRY," including the Three trize Tunes.
No. j^. Fonr Tunes to the Hymn, "0 LOVE WHOFORMEDST ME TO WEAR."
MM. 15. Six Tunes to the Hymn, " THE KING OF LOVE,"
including Three Prize Tunes.
Price One Shilling. (Cloth 116.)
on CONDUCTORSNew and Enlarged AND CONDUCTING.
Edition
BY T. R. CROGER, F.R.G.S., F.Z.S.,With three Full-page Illustrations of the various Beats " and Plan of an Orchestra
" A mine of good things." Musical Opinion."One of the best guides to conducting." M. T. Review.
36 W. REEVES, 83, CHARING CROSS ROAD, W.C.
THE Weekly, with Supplement 2d.
"MUSICAL STANDARD,"
A NEWSPAPER FOR MUSICIANS, - --,^-7
PROFESSIONAL AND AMATEUR.
Gives Supplements of Illustrations of British and Foreign
Organs, Portraits of Eminent Musicians, Organ Music,
Violin Music, Anthems, Part Songs, Songs, Piano
Pieces.
SUBSCRIPTION, one year, IDS. iod., six months, 59* sd.,
Abroad, one year, 133., six months, 6s. 6d.
Illustrated Series, Yols. 1, 2, 3, i, 5, 6, 7, 8, 9, 10 and onward, bound in
brown cloth, 5s. each.
Handsome Covers for Binding, Is. 6d. nut each (by post is. 9d.)
Publishing and Advertising Offices :
83, CHARING CROSS ROAD, LONDON, W.C.
1902-3 Edition. Paper, 2s net. or Cloth, 3s. 6d. net.
MUSICAL DIRECTORYFOR GREAT BRITAIN AND IRELAND.
THE TRADES, PROFESSORS AND OTHERS CONNECTED
WITH MUSIC, CHORAL SOCIETIES, STAFF OF
CATHEDRALS, COLLEGES AND ABBEY CHURCHES, ETC.
W. REEVES, 83, CHARING CROSS RD., LONDON, W.C
ML
3812T423
Thibaut, Anton Friedrieh Justus
Purity in music
Music
PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET
UNIVERSITY OF TORONTO LIBRARY