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