MUSICAL MISCELLANY.

FOR THE FAMILY MINSTREL.

ELEGANT EXTRACTS.-No. 2. INFLUENCE OF CHURCH MUSIC. The following admirable observations are to be found in the Ecclesiastical Polity of "the judicious Hooker." Book v. § 38.

"Touching musical harmony, whether by instrument or by voice, it being but of high and low in sound, a due proportionable disposition, such, notwithstanding, is the force thereof, and so pleasing effects it hath, in that very part of man which is most divine, that some have been thereby induced to think, that the soul itself by nature is, or hath in it, harmony: a thing which delighteth all ages, and beseemeth all states; a thing as reasonable in grief, as in joy; as decent, being added unto actions of greatest weight and solemnity, as being used when men most sequester themselves from action.

"The reason hereof is an admirable facility which music hath, to express and represent to the mind, more inwardly than any other sensible mean, the very standing, rising, and falling, the very steps and inflections every way, the turns and varieties of all passions whereunto the mind is subject; yea, so to imitate them, that, whether it resemble unto us the same state wherein our minds already are, or a clean contrary, we are not more contentedly by the one confirined, than changed and led away by the other.

"In harmony, the very image and charactèr even of virtue and vice is perceived, the mind delighted with their resemblances, and brought by having them often iterated into a love of the things themselves. For which cause there is nothing more contagious and pestilent than some kinds of harmony; than some, nothing more strong and potent unto good.

"And that there is such a difference of one kind from another, we need no proof but our own experience, inasmuch as we are at the hearing of some more inclined unto sort w and heaviness, of some more mollified and softened in mind; one kind apter to stay and settle us, another to move and stir our affections. There is, that draweth to a marvellous grave and sober mediocrity; there is also that carrieth as it were into ecstasies, filling the mind with a heavenly joy, and for the time in a manner severing it from the body: so that, although we lay altogether aside the consideration of ditty or matter, the very harmony of sounds being framed in due sort, and carried from the ear to the spiritual faculties of our souls, is, by a native puissance and efficacy, greatly available to bring to a perfect temper whatsoever is there troubled,— apt as well to quicken the spirits as to allay that which is too eager, sovereign against melancholy and despair, forcible to draw forth tears of devotion, if the mind be such as can yield them, able both to move and to moderate all affections.

"The PROPHET DAVID having singular knowledge, not in POETRY alone, but in Music also, judged them both to be things most necessary for the House of Gon, left behind him for that purpose a number of divinely indited Poems, and was further the author of adding unto poetry melody in Public Prayer, melody both vocal and instrumental, for the raising up of men's hearts, and the sweetening of their affections towards GGD.

"In these considerations, THE CHURCH OF CHRIST doth likewise at this present day retain it as an ornament to God's service, and a help to our own devotion. They which, under pretence of the Law Ceremonial abrogated, require the abrogation of instrumental music, approving, nevertheless, the use of vocal melody to remain, must shew some reason wherefore the one should he thought a legal ceremony, and not the other. In Church Music, curiosity and ostentation of art, wanton, or light, or unsuitable harmony, such as only pleaseth the ear, and doth not naturally serve to the very kind and degree of those impressions, which the matter that goeth with it leaveth, or is apt to leave, in men's minds, doth rather blemish and disgrace that we do, than add beauty or furtherance unto it. On the other side, the faults prevented, the force and equity of the thing itself, when it drowneth not utterly, but fitly suiteth with matter altogether sounding to the praise of God, is in truth most admirable, and doth much cdify, if not the understanding, because it teacheth not, yet surely the affection, because therein it worketh much.They must have hearts very dry and tough, from whom the melody of Psalms doth not sometimes draw that wherein a mind religiously affected delighteth. Be it as Rabanus Maurus observeth, that at the first the Church in this exercise was more simple and plain than we are; that their singing was little more than only a melodious kind of pronunciation; that the custom which we now use was not instituted so much for their cause who are spiritual, as to the end that unto grosser and heavier minds, whom bare words do not easily move, the sweetness of melody might make some entrance for good things. St. Basil himself [in Psalm. i. p. 125.] acknowledging as much, did not think that from such inventions the least jot of estimation and credit thereby should be derogated:- For,' saith he, whereas the HOLY SPIRIT saw that mankind is unto virtue hardly drawn, and that righteousness is the least accounted of by reason of the proneness of our affections to that which delighteth; it pleased the wisdom of the same SPIRIT, to borrow from melody that pleasure, which, mingled with heavenly mysteries, causeth the smoothness and softness of that which toucheth the ear, to convey, as it were by stealth, the treasure of good things into man's mind. To this purpose were those harmonious tunes of Psalms devised for us, that they who are either in years but young, or touching perfection of virtue as not yet grown to ripeness, might, when they think they sing, learn. O the wise conceit of that Heavenly Teacher, who hath by his skill found out a way, that DOING THOSE THINGS WHEREIN WE DELIGHT, WE MAY ALSO LEARN THAT WHEREBY WE PROFIT.'" D*.

ART OF MUSIC.

FOR THE FAMILY MINSTREL.

INDISTINCT ARTICULATION.

MR. EDITOR,-In your Journal of March 2, I observed some remarks on the subject of Indistinct Articulation in singing. The subject is highly interesting to a Christian community, and demands the serious consideration of every lover of church music. Indistinct articulation in singing is, without doubt, an evil truly existing in very many worshipping assemblies. To inquire into the causes of this evil, for the purpose of removing them, is certainly laudable, and may

be useful. These causes, in the opinion of the writer of those remarks, are-"The introduction of organs into our churches-assembling in small rooms to practice singing-and instructing pupils to swell each note," &c. That an organ, if played loud, has a tendency in some measure, to prevent the congregation from hearing the words of the psalm distinctly, is true; the same also may be said of the loud singing of a large choir of singers. If a distinct articulation of the words of the psalm was the only desirable thing in this part of divine service, several remedies for the evil complained of, might be suggested. In the first place, those congregations which make use of organs, might lay them aside entirely. In the next place, we might discontinue all choral music, and let one of the best singers perform alone; and, to avoid obscurity, as much as possible, let him sing in the recitative style. And if, after all this is done, we find the words are not distinctly heard by the congregation, let us have no singing at all; but, instead of singing, let some one read or speak the words with an audible voice, that all may hear and understand. But this, I presume, is not exactly what the writer of the remarks wishes for. We are commanded to sing praises, and we are commanded to praise GoD with organs. Let us be careful not to neglect either of these duties.

A distinct articulation of the words in singing, is certainly highly important; so much so, that I believe no good singer will be inattentive to it; otherwise he cannot, with propriety, be called a good singer. But distinct articulation is not the only important thing in sacred music. GOOD music is also important. There is a language in music which speaks to the heart of every man who has any music in his soul.

The language of sacred music is, "Praise ye the Lord;" to which every heart, attuned to the worship of GoD, responds, "I will sing praises unto my God, while I have any being." Sacred music enlivens and elevates the affections, and enraptures the soul. Even a voluntary, in the style of sacred music, skilfully performed on an organ alone, is admirably calculated to tranquilize the mind, and prepare it for the solemn services of the sacred day, and of the house of God. How much more enrapturing is music, when the organ is united with vocal harmony, and sacred words! The principal use of the organ is to support the singing; but it should not be played so loud as to overpower it. A skilful organist will so manage the stops, keys, &c., as to give that support, without obscuring the articulation of the words. He will make the organ seem, almost to speak the words, or, at least, to impress the sense of them upon the audience. An unskilful performer, by loud playing, and by false harmony, may, as it were, blot out the sense or meaning of the words; but it ought to be remembered, that this is the fault of the organist, and not of the organ.

With regard to assembling in small rooms for instruction in singing, I would observe, that I can see no reason why a room, if large enough to contain all who attend, and to admit of their being arranged in a convenient manner, should be less favorable to distinct articulation than a larger one. If, however, the contrary is found to be the fact, perhaps it may be well to meet occasionally in the church. It is the business of the singing-master to learn his pupils to articu| late every word and syllable clearly and dis

tinctly.

But the obstacle in the way of distinct articulation, principally insisted on by the writer of the remarks, is the swell and diminish, which he says has been "earnestly inculcated for several years past." This he admits "has a very happy effect on our melody." Now, melody and harmony are the constituent parts of music, and good music is an important part of divine service; why, then, ought not singing-masters to "instruct their pupils to swell every note," (except very short ones,) from the beginning towards the middle, and again to diminish towards the end;" not forgetting, at the same time, to insist on a distinct articulation of the words? From the nature of music, many words and syllables are dwelt upon much longer in singing than in speaking. Should a speaker draw out his syllables to the length of one or two seconds, the prolongation of the voice would, to be sure, be on the vowels; but if, with a view of giving the consonants their proper sound, he should begin and end every syllable abruptly, would not his elocution be ridiculous? So in singing; if a singer, or a choir of singers, were to sing a tune consisting chiefly of long notes, and should begin and end every note loud, and, if you please, diminish a little in the middle of each note, that the consonants might be distinctly heard, would not the music be barbarous? Would it not excite feelings nearer akin to disgust and ridicule,

than to devotion? If any doubt it, let him make the experiment.

The swell and diminish are not of modern invention, as seems to be intimated by the writer of the remarks. Many of the ancient authors recommend that style of singing. Indeed, it appears to be the voice of nature itself; and I very much doubt if the contrary style would be pleasing to any lover of sacred melody. But still it may be said, the difficulty complained of is real; people cannot distinctly hear the words of the psalms, as they are usually sung in our churches. Granted. It is a fact, that singers in general do not speak the words they sing, as plain and distinct as they ought to. What then is to be done? Shall we sit still, and hear the music without understanding the words? By no means. Let every singer be taught to open his throat and teeth freely, and to speak every word plain and distinet; and this he may do, whether he sing loud or soft, with or without the swell. Let every member of the congregation have his psalm-book before him, that he may see the words as they are sung. And where an organ is used, let the organist be careful not to drown the singing with too full an organ. Let these things be done, and the diffiDAVID. culty complained of will vanish.

A DIFFICULTY.

MR. EDITOR, A few Sundays ago, it happened that I came in late at church during the exercise of singing. Taking my seat, and opening my psalm-book at the page which was shown me by a fellow-worshipper, I began to listen, for the purpose of discovering what stanza was then taken up by the singers. This I found to be impossible. I did not like to be seen whispering in the church; so I kept my eye upon the psalm, not doubting, but in the course of a stanza or two, some little word or phrase would be uttered by

me to find the place. But I was mistaken. Though blessed with an acute sense of hearing, the psalm was finished entirely in an "unknown tongue,” and not one syllable of the whole performance was distinguishable from another. This is a serious difficulty, and one not of very unfrequent occurrence, Mr. Editor. How is it to be remedied? Your's, &c.

A HEARER. ANSWER.-A hearer would do well, in the first place, to be always at church in good season. Then, in the second place, beginning with the singers, and with his eyes and ears open, and his finger at the place, he might in most cases make out the calculation required. Once, however, we noticed a case in which all these precautions would have been nearly useless. The choir and the congregation were singing two stanzas at once, through the most of the hymn, without any one seeming to be sensible of the jargon; though examples were furnished where the singers sat side by side.

FOR THE FAMILY MINSTREL.

DANISH MORNING HYMN.

BY KINGO, A. D. 1650.

H.

STANZAS ON ADAM.

BY THOMAS BAGG.

If the following stanzas had met the eye of any person of taste and feeling, without the name of the author, no small curiosity would, we think, have been awakened to know to what poet of the day to ascribe so happy and striking an effusion:

Adam, where art thou? monarch, where?

It is thy Maker calls?

What means that look of wild despair?
What anguish now enthralls?
Why in the wood's embowering shade,
Dost thou attempt to hide,
From Him whose hand the kingdoms made,

And all thy wants supplied?
Go, hide again, thou fallen one!
The crown has left thy brow;
Thy robe of purity is gone,

And thou art naked now.

Adam, where art thou? monarch, where?
Assert thy high command:
Call forth the tiger from his lair,
To lick thy kingly hand;
Control the air, control the earth,
Control the foaming sea;
They own no more thy heavenly birth,
Or heaven stamp'd royalty.
The brutes no longer will caress,
But share with thee thy reign;
For the sceptre of thy righteousness

Thy hands have snapp'd in twain.
Adam, where art thou? monarch, where?
Thou wondrous thing of clay!
Ah! let the earth worm now declare,
Who claims thee as his prey.
Thy mother, oh thou mighty one,
For thee re-opes her womb;
Thou to the narrow house art gone,
Thy kingdom is the tomb.

The truth from Godhead's lips that came,
There in thy darkness learn:

Of dust was form'd thy beauteous frame,
And shall to dust return.

Adam, where art thou? where! ah, where?
Behold him raised above,

An everlasting life to share,

In the bright world of love.

The hand he once 'gainst heaven could raise,
Another sceptre holds;

His brows where new-born glories blaze,
Another crown enfolds.

Another robe's flung over him,
More fair than was his own;
And with fire-tongued seraphim
He dwells before the throne.

But whence could such a change proceed!
What power could raise him there?

So late by God's own voice decreed
Transgression's curse to bear.

Hark! hark! he tells-a harp well strung
His greetful arms embrace;

Salvation is his deathless song,

And grace abounding grace:

And sounds through all the upper sky
A strain with wonders rife,

That Life hath given itself to die,
To bring death back to life.

And who is Thomas Bagg? A most unpoetical name truly; but he did not choose it. Nor is it quite so prosaic as that of the Ettrick Shepherd. If, however, a rose by any other name would smell as sweet, a poet must not be deemed less a poet because he does not bear a wellsounding name. And surely there are stamped upon these stanzas the marks of nature's nobility; although her hidalgos, like those of the pure Boscayan blood, are cften found in very humble occupations. It is the production of a young man who has written nine thousand lines in six months, working the whole time fourteen hours a day in a twist machine. He was an infidel; but he is now an humble,decided Christian.

Eclectic Review.

THE FAMILY MINSTREL.

NEW YORK, APRIL 1, 1835.

TO CORRESPONDENTS.

The letter of our friend "A. B." of Troy, N. Y. has been received, and his request shall be attended to.

For the details furnished by our correspondent "J. C. A.” we owe our best thanks; and we feel much favored by his successful efforts to increase our subscription list.

The two letters of "W. N." of Cincinnati, Ohio, came duly to hand. His contribution to our columns is cheerfully accepted.

To the editor of the "Carlisle Expositor," we make due acknowledgments, for the handsome manner in which he has so substantially served our cause.

The two pieces of Music submitted to us,--one by "W. C. B.," and the other by "A Subscriber," set to the words "Thou who dwell'st enthroned above," are under consideration.

Among our new arrangements, with regard to the future publication of the Minstrel, we have the promise of stated original contributions, and aid also in our editorial labors, from a literary and scientific gentleman, well versed in the theory and art of music.

For the large proportion of original matter in our present number, we are indebted to the kindness of our correspondents. And we here renew our solicitations for a continuance of such favors.

GERMAN FAMILY MUSIC.

In Germany, above all other countries, music seems to form an ingredient in domestic happiness. There are to be heard there innumerable family songs, breathing the purest principles of virtue, and accompanied with the richest harmonies, in which parents and children unite, and regale themselves. The social and national influence of music, in such a case, must of course be very powerful.-Having obtained some of these admirable compositions, we have put them in the hands of a musical friend, who has promised us to make from them occasional selections and translations for our pages.

THE MUSIC IN OUR PRESENT NUMBER.

We reprint in our present number of the Minstrel, one of the Series of Sacred Songs first published in London,-"the words by Thomas Moore, Esq., and the music composed and selected by Sir John Stevenson, Mus. Doc., and Mr. Moore." The first number of the Series, from which our selection is made, contains sixteen songs, all possessed of great merit. Five of the airs are original productions by Sir John Stevenson, one is by Mr. Moore, one by Martini, two by Avison, two by Beethoven, three by Haydn, and one by Mozart. A few separate songs from the series, and, we think, all of the first part, have been published in our country. But there is a claim in the whole collection, to be reprinted entire. We know of no richer har. monies, and few that are as well arranged for Sacred Songs.

ENHARMONIC ORGAN.

A description of the great Enharmonic Organ, lately constructed in London by J. Robson & Son, is given in the last number of the Westminster Review, Vol. III. No. 1. Art. V. The following extracts will give a general idea of the design and nature of the instrument.

"This attempt at obtaining Correct Harmony, is based on the observation or discovery, of the duplicity of the Dissonances; by which is meant that the Dissonances (the Major and Minor Seventh and Major and Minor Second, so called in contradistinction to the Thirds, Fourth, Fifth and Sixths, which are the Consonances) are double, or have each two forms, differing by the small difference called a Comma, and which make just concords with the Consonances alternately,—that is to say, the Acute form makes just concords, (whenever the interval is not less than the least of the intervals that make a concord at all) with the Thirds and the Fifth (odd numbers,) and the Grave with the Fourth and the Sixths (even numbers.) The exactitude of this is easily ascertained by any person familiar with the calculation of musical ratios.

"Instead therefore of trying to get rid of the difficulty, by mincing up this perplexing Comma among the various notes to the destruction of the purity of all, as in one way or other is the object of every thing that has passed under the name of Temperament, the more reasonable process would appear to be, to endeavor to execute the proper form of the Dissonance in the proper places, as may be suspected to be already done by performers, on unfettered instruments, such as the voice and viol kind.”

To meet the difficulties thus presented, the Enharmonic Organ has been constructed, with a strict regard to the philosophy of musical sounds. It has three finger-boards, one of which presents the key of C, another the key of G, and the third the key of E; and, by the aid of certain rules of adaptation, there is thus happily obtained a mastery over the chief desiderata of temperament. To all scientific musicians, the subject is replete with interest. The Enharmonic Organ will no doubt illustrate, in a most interesting manner, some of the principles of Composition, introduce facilities for executing those remoter relations of harmony which are termed Discords, and yield many new phenomena which will be the wonder and the admiration of the age.

MUSICAL WORKS.

THE AMERICAN HARP: being a collection of new and original Church Music, under the control of the Musical Professional Society in Boston. Arranged and composed by CH. ZEUNER, Organist, &c. Boston. Hilliard, Gray & Co. 1834. pp. 407.

The industry and talent with which Mr. Zenner has labored in the cause of Church Music, entitle him to the highest meed of praise. From his numerous publications, we have selected the "American Harp," as most strongly setting forth the author's claims to patronage. It is, as he alleges," an original work of Church Music, composed expressly and exclusively for the worship of GoD, and not a mere adaptation of opera airs, glees, songs and marches."

Prefixed to the collection is an "Introduction to the Art of Singing," comprised in fifteen pages, and accompanied with an admirable series of

Exercises for practising time and intervals, and for the proper cultivation of the voice. The principles of this brief method of instruction, as Mr. Z. informs us, are the Pestalozzian, which have been attended with such great success, upon the continent of Europe.

Of more than three hundred tunes in this work of Mr. Zeuner, all, (excepting only Old Hundred and four others,) are his own compositions. And there are not a few of them possessed of decided merit, both for their melodies, and for the skill with which they have in general been harmonized. We have been particularly pleased with the tunes called " Eberwein," p. 217, Ferrari," p. 226, Sterkel," p. 225, and the motteto "Blessed is the people," p. 317.

In a future number, we shall make some extracts, to justify these observations; and we shall soon notice the other publications of this excellent contrapuntist.

THE WESLEYAN HARP,-a Collection of Hymns and Tunes for social worship, by A. D. Merrill and W. C. Brown. Boston. 12mo. pp. 216.

DYER'S ANTHEMS, SET PIECES, ODES AND CHORUSES, The third edition, enlarged,—just published at Philadelphia. pp. 246.

PIANO-FORTE GUIDE." A Guide to Instruction on the Piano-Forte, designed for the use of both Parents and Pupils, in a Series of Short Essays. Dedicated to the Young Ladies of the [Cincinnati] Musical Seminary. By W. NIXON." Cincinnati, Ohio. 18mo. pp. 96.

These publications, presented to us by their authors, shall receive due attention at an early date.

MUSICAL SOCIETIES.

NEW YORK HANDEL AND HAYDN SOCIETY.— The monthly public performance of this Society took place on Wednesday evening, the 25th ult., at Broadway Hall. The music consisted of seven Solos, three Duets and seven Choruses,-being selections from Handel, Haydn, M. P. King, and O. Shaw. The First Part was well performed, but we cannot say as much of the Second. The three choruses "We praise thee, O GOD," "To thee, Cherubim." and " Thou art the King of Glory," admirably executed, needed the addition of the double bass to give them their due effect. This want was sensibly experienced. In the Second Part, the instruments being out of tune, the vocal performers were much impeded, in their efforts to do justice to their themes. Among the Duets, the "Messenger Bird" was sung with great ability; and the Solo "From mighty kings," deserves commendation. The articulation of the words of this Song, however, and, indeed, of most of the others, was too indistinct. Yet we felt a pleasure, when we thought of the language of these sacred compositions, proceeding from the worthy members of the Society, instead of being profaned by theatricals and opera-singers.

We were much struck with the propriety of the Vice-President's notice to the audience, that all marks of applause were to be suppressed, as the music was sacred, as the love of applause was not the Society's stimulus, and as it was desirable, in this as in other respects, to avoid all resemblance to the theatre and opera-house.The Society, we learn with pleasure, has received accessions to the number of members; and their increased attention to the objects proposed, is very manifest. We wish them every

success.