Page images
PDF
EPUB

THE FAMILY MINSTREL.

NEW YORK, JULY 1, 1835.

TO CORRESPONDENTS.

Our correspondent Sigma's review of "Nixon's Guide to the Piano Forte," shall appear in our next. We thank him for this favor.

Among the communications which have lately come to hand, we are happy to acknowledge the receipt of several pieces of Original Music. That sent to us by "W. N," entitled "Sister, thou art mild and lovely," shall soon appear. The hymn tune by "L.," entitled "Devotion," is not admis sible in its present form: the author shall soon hear from us by mail. The contribution of B. B.," is under consider ation; yet we promptly own, that we do not think it one of his happiest efforts. The melody by "S. S. W.," to the sacred song, "Morn of Zion's glory," is acceptable, and shall be admitted to our pages in a short time.

Our friend "Philo Melis," at Pittsburg, Pa., shall be gratified in his wish.

We publish in our present number the last received of the series of articles on "Church Music," by Germanicus.

As these essays have afforded much satisfaction to some of our subscribers, and as the author of them, in his first article, proposed several subjects not yet discussed, we earnestly solicit the continuation of his valuable labors. We shall hope for an early communication from him by mail.

In reply to our correspondent "L. B," we state, that there has not "a better work yet appeared for juvenile sing. ing schools, than the Juvenile Lyre." We learn, how. ever, from Mr. Mason, one of the authors of the Lyre, that he conteinplates presenting to the public, at an early date, a new work of the same general character, as that which is the subject of our friend's inquiry. Several other publica

profane system, by which a choir of singers are actually hired and paid for praising God, (as is the case in so many of our sanctuaries in the city,) we may look with some complacency to those of our Sunday Schools where Sacred Music is properly cultivated. In the rising generation, we may secure a corrective principle.

The unpropitious state of Church Music, in almost every section of our country, calls with a loud voice to Christians, to redeem our holy places from the dishonor, which "foul discords" have cast upon them. It was the ambition of San Filippo Neri, and his disciples, in the middle of the sixteenth century, to allure crowded congregations to their chapels, by the holy charm of the music which they might there enjoy. But so greatly have we degenerated, that the fear of harsh dissonances actually keeps some in modern times away from the courts of the Lord's house. Let us, therefore, revive the spirit of the devout Filippo Neri, and, by cultivating music among the rising generation, EXORCISE THE EVIL GENIUS OF THE

CHURCHES.

BOSTON ACADEMY OF MUSIC.

We have read with great pleasure the last Report of this Musical Academy. And we are happy to bear our testimony to the truth of its tions of the same description, we learn, are now planned, by philosophic principles, and to express our ad

persons engaged in juvenile instruction.

MUSIC IN SUNDAY SCHOOLS.

Among the letters of our correspondents, we have one from a friend, whose experience and sound judgment give great weight to his opinions. I really believe," says he, "that a reformation in our Church Music, (which is now in a most deplorable condition, in the region where I reside,) can scarcely be expected in any other way, than by teaching sacred singing in Sunday Schools. I have been engaged, for the last twelve years, in superintending Sunday Schools, in different sections of our country; and, for a few years, I have always devoted a portion of the time allotted, to instructing the whole school in the science of music." Our friend alleges further, that he has been much encouraged in his course, by the most pleasing and profitable results, with which his efforts have been crowned.

From some personal experience, we are prepared to urge this interesting and important subject. The general exercises in our Sunday Schools, which arrest the attention of all the scholars, who are present, and call their thoughts and feelings, at the same time, to the same topic, are acknowledged to be decidedly the most effective parts of the instruction given. Every eye is fixed; and every young heart throbs with sympathy. At such a moment, deep and durable impressions are to be made. When the general exercise announced has been singing, we have often noted the peculiar cheerfulness, with which the youthful multitude, in some of our large schools, have at once prepared themselves to take part in this enlivening duty. It has evidently a natural sanction in the soul. Those teachers, then, are emphatically wise, who bear in mind this characteristic, and make it subservient to their labors in the Redeemer's cause.

It has often struck us forcibly, moreover, that in remedying the evils of that corrupt and

miration of the large and liberal views which it entertains.

It has been our purpose, from the origin of our paper, to hold this praiseworthy institution prominently in view; and we trust, that we shall hereafter be able to keep pace with it in its operations. We fell well assured, that its example and its efforts may have a wholesome effect.

The Academy contemplates man, as endowed with moral qualities, which may be brought under the benign influence of music, and be fitted for temporal and spiritual happiness. Whatever tends to diffuse "a chastened cheerfulness around the domestic circle," as well as that which "elevates the soul in communion with its Maker," comes within the proposed plan of the institution.

"At social meetings,-in the season of childhood,-under various circumstances of life,-feelings of joy and innocence, though not of a religious character, may be entertained, which are not only proper to be expressed in song, but which naturally lead us to such a mode of expressing them. There are moments when the gayety of our hearts rises so high as to overflow the bounds of gravity, and we find ourselves giving vent to the ebullitions of joy in singing, before we have put the question as to the propriety of the action. But if such emotions are natural to mankind, and contribute to their happiness, it seems proper not to check them, but rather to make provision for their innocent indulgence, by instruction in music adapted to promote or express them." Every path of life, in the view of the Academy, may be cheered and hallowed by sweet sounds. From early youth even to mature old age, music may be the partner of our joys and sorrows, and may exert over them a dominion, not unlike that yielded to the "help meet for man,"-a softening, an elevating dominion, that gradually sways all the powers of the soul, and fills it with pure thoughts and holy fervors.

In our next number, we purpose making extracts from the Report above referred to; and shall now only premise, in the language of the Academy, that it is "not a musical society, in the common acceptation of the term." "Its object is not to promote among its members a

knowledge of music, or to gratify their taste, or acquire skill by the performance of it. With these matters, as a society, they have nothing to do. The only end and aim of those who compose it, is to raise music, as a branch of education, to the rank which they think it entitled to hold, to diffuse a knowledge of its principles among all classes,—and to endeavor to remove the prejudices by which it is assailed, and to correct the abuses by which it it encumbered. In doing this, they use the means which other societies adopt in advancing their objects. The only advantage which they expect to secure by their efforts, is to partake in the benefit which will be common to all, when the art is more justly appreciated, and more generally and successfully cultivated."

CINCINNATI JUVENILE CONCERTS.

In a late number of the MINSTREL, we gave a brief notice of the Eclectic Academy of Cincinnati, and announced one of its public performances, under the direction of Mr. T. B. MASON, Professor of the institution. We requested also, that some of our western friends would be so good, as to furnish us with an account of this Juvenile Concert, that we might have the satisfaction of recording such results, as we are now prepared to state on good authority.

Through the prompt attentions of a correspondent, we have received from Cincinnati, the following communication:—

SIR, With regard to the JUVENILE CONCERT, by the children of the second and third classes of the Eclectic Academy, under the care of Mr. Mason, you will doubtless be pleased to learn, that its success was such as its most sanguine supporters could have wished. It was repeated, by particular request,-the audience, each time, being between five and six hundred. The character of the performance, for musical skill, and correct taste and execution, was very high; and such as holds out the brightest prospects, for the future musical education of the children of the Great Valley. We hazard nothing in saying, that the predominant feeling in the audiences, during the whole of both perform ances, was unmixed delight and admiration.

May the day arrive speedily, when, in every part of this great nation, all the children and youth shall be taught to sing, that their mouths may be filled with the praises of Jehovah. C. S.

From another source we learn, that this letter speaks the sentiments and feelings of all those who were present at the performance. We find also, in the "Cincinnati Journal," the following corroboration of this statement:

"The delicacy and sweetness of the youthful voices, and the touching simplicity and artlessness of their singing, united to the highly poetical character of the words sung, produced an effect such as we never before witnessed, except in concerts of a similar kind at the east. The thrill of pleasure, at the end of almost every piece, which passed through the house, was like an electric shock, and gave a fine illustration of what is the true effect of Music,—REAL

MUSIC.

"The character of the performance, as to scientific merit, was high. The expression, or suiting the singing to the sense of the words, was such as to gratify the most perfect taste. The correctness of tone, and the sustaining of the pitch, were such as are rarely found in concerts of a higher rank. The time was as correct as it could be, and any one acquainted with music, must know, that this constitutes one of its chief beauties, and is more frequently failed in than any thing else.

"And, in particular, the pronunciation of their words was astonishing. L any one, in the performance of the best choirs, and even in the greater part of sacred concerts,attempt to follow the performers, and know the words they are singing, and he will find how great is the universal deficiency; but, in the case before us, we can say, that in almost every case we were able to distinguish the words with perfect ease, in all parts of the tune."

[subsumed][subsumed][ocr errors][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed]

"SOFT BE THE GENTLY BREATHING NOTES."

A Sacred Glee.

MUSIC COMPOSED AND HARMONIZED BY E. IVES, JUN.

COPT-RIGHT SECURED BY THE AUTHOR, ACCORDING TO ACT OF CONGRESS-AND PUBLISHED IN THE MINSTREL, BY PERMISSION.

[graphic]
[graphic]
[graphic][subsumed][subsumed][ocr errors][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][ocr errors][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][ocr errors][subsumed][subsumed][ocr errors][subsumed][subsumed][subsumed][subsumed][merged small][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][subsumed][merged small][merged small][merged small][subsumed][subsumed][graphic]
[blocks in formation]

BY H. F. HARRINGTON,

"T WAS evening in midsummer, and I knelt By the lone fever'd couch of a bright being

Whom Death had breathed upon! Oh, she had pray'd,

In her strong agony of suffering,

For the cool breath of evening. Evening came-

The burning sun went down.-But no sweet breeze

Rose with its balmy freshness, to allay

Her brow's hot flush; and Nature seem'd to droop
'Neath the dread withering of a pestilence!

The heavens were curtain'd by white clouds. "T was pain
To breathe the sultry air;-the flowers bent down
Their dying heads, and folded their parch'd leaves,
As if a blight were on them.

Then my soul

Sicken'd within me, as I gazed on her,
And felt that she must die. The aged die,
Yet in our breasts, no startling warning wakes-
From the enclosing tomb, there comes a voice,
'Weep not, 't was time to die!'-

Death sets his seal upon the infant's brow,
And its pure spirit seeks that other world,
Unspotted, undefiled-with not one grief
Of all that Nature has in store for man,

To pain its gentle parting; not one sin,

To keep it back from Heaven!—and then it seems
A mockery to grieve.

But when the fell Destroyer, in his course,
Withers the strong man's arm, makes pale the lip
Mantling with life's red flush,--and, more than all,
Steals the bright lustre from the glowing cheek
Of Nature's fairest-sweetest,-then the soul
Bows at the footstool of the Conqueror !—
Feels in its awful power, the silent, stern
Omnipotence of Death!

The room was closed

Save the loved window, where, when ruddy health
Beam'd from her laughing eye, she joy'd to sit,
And look on Nature. "T was as she had left it-
The sash half-raised, and her Æolian Harp,
With not a breath of Heaven to wake its strings,
There, as her hand had placed it!

Now she felt
Death struggling with her weakness; and a gleam
Of her soul's agony pass'd o'er her cheek.
She did not fear to die! She did not mourn
That the sweet flowers of hope, Youth loves to strew
Around life's onward path, for aye were blighted!
Not for all this she grieved-but the dark page
Of coming Destiny!--She had not held
Communion with her GoD! No breath of Heaven
Waited to waft her spirit to a home
'Mid angel hosts above;-this, this, she mourn'd!-
Her maker smiled not on her!

Then she pray'd! On the deep stillness broke her dying voice,

[blocks in formation]

of dying,

Nor do I pray that thou wouldst still my pain;

I know that Death has won !

My spirit shrinks not at the sure denying

Of health's bright wreath again!-

Father!-Thy will be done!

'It is not that this frame would be delaying

'Mid earth's fair scenes, from Death's embraces free ; And on each sunny day,

Be through the pleasant groves of Nature straying,
In Youth's unstinted glee ;-
Father!-not this I pray.

But, O my Father!-that thy smile were on me !—
That thou wouldst smooth my pathway to the tomb!

O that thy love might rest—

The hallow'd token of thy grace-upon me!
How would it light Death's gloom,

Father! to feel me blest!'

[blocks in formation]

IT comes the storm so long repell'd,
In wilder rage again;

Like wintry stream, by barrier swell'd,
Loud bursts it o'er the plain:
With gather'd might, it sweeps along;
Like thunder, peals its roar:
The Eolian melodies of song
Are lost, amid the wildering throng;
The lyre is heard no more.

A moment's pause the tempest feels,
And soft the heavenly tone,

As evening hymn from cottage steals,
Breathes sweetly faint and lone.
Uncertain, as if thrill'd with fear,
It melts and dies away:

I turn, and wait with longing ear,
And low and dim, it rises near,

Quick falls-it cannot stay.

Serene and calin, the world of song;
Above the cloud and gale:
There flows a sheeted stream along,
Through many a silent vale:
There ever blue the sunny sky;

Spring-warm the wooing air:
White filmy wreaths of beauty lie,
Alone, in holiest rest, on high-
Love dwells forever there.

NEW-HAVEN, April, 1835.

RELIGION.

[Knickerbocker.

OH! wide they wander from the path of truth,
Who paint Religion with a brow of gloom;
Her step is buoyant, with unfading youth,
Her features radiant with immortal bloom.
In life's gay morning, when the crimson tide
Of pleasure, dances through each burning vein;
She leads with guardian care her charge aside
From the broad passage to undying pain.

And when the fleeting joys of time are past,
And dark despondence on the spirit preys,
She bids with holy hope, the suff'rer cast

To brighter regions his confiding gaze.
From vulgar joys, from low debasing cares
'Tis her's alone the sinking soul to save,
For her its sweetest smile creation wears,

For her no horrors has the yawning grave. No: should this scene in headlong ruin close, Each shatter'd planet from its orbit move; She would not tremble, for full well she knows The arm is nearer of UNBOUNDED LOVE.

HEBREW MELODY. THE wave has still as deep a dye That breaks on Judah's shore; Serene and cloudless is her sky As 't was in days of yore; And there the sun as brightly shines; But ah! on Judah's holy shrines His beam alights no more.

On Judah's mountains and her plains The stately olives stand;

And still her towering palm remains,
So lonely and so grand.

As monarchs of the waste they rise,
But every blast awakes their sighs
For Judah's hapless land.

On Sharon still, to woo the gale,
The mountain roses bloom;
And in each wide and woody vale
The lily cheers the gloom;

But these in mournful splendor tower,
And flourish like some lovely flower
That blossoms o'er the tomb.

THE CHRISTIAN

SHOULD TAKE HIS FASHIONS FROM HEAVEN.

If the believer could find no exemplary cha. racters on earth, he could not fail of meeting with such in heaven. On earth, it is true, haughtiness, sensuality and pride are in fashion. But the believer is not of earth: he is reproached for being a man of another world; he is a citizen of heaven, Phil. iii. 20. His heart is with his treasure, and his soul, transporting itself by faith into the heavenly regions, beholds customs there different from those which prevail in this world. In heaven it is the fashion to bless GOD, to sing his praise, to cry, Holy, holy, holy is the Lord God of Hosts; to animate one another in celebrating the glory of the great Supreme, who reigns and fills the place. On earth, fashion proceeds from the courts of kings, and the provinces are polite when they imitate them. The believer is a heavenly courtier; he practiseth, in the midst of a crooked and perverse nation, the customs of the court whence he came, and whither he hopes to return.-SAURIN.

PERSONAL HOLINESS.

There is too much theory and too little practice on the requirements of the gospel. Religion is a living principle in the soul; it consists in loving GoD, with all the heart, and our neighbor as ourselves. It is an active principle,one, which cannot be laid aside, and resumed at pleasure. Some people are very good Christians apparently, while the excitement of a revival continues; but, when that subsides, their religion subsides with it. Others can attend very well to religious duty, when nothing else calls their attention; but, if a worldly object interposes, it must be dispensed with. Such is not the religion of the Bible,-such is not saving grace. The true Christian walks by faith; he has a fixed resolution to serve GoD at all times. In the busy cares and labors of life, he needs religion to cheer and enliven his heart and, in time of declension in the church, he realizes the importance of being more actively engaged. He is a Christian in his closet, in the family circle, in the prayer meeting, and at the house of God. At home, abroad, in prosperity and adversity, he breaths the air of heaven.

THE TEAR, DEW-DROP, PEARL, AND ZEPHYR.

Near a dew-drop there fell a tear upon a tomb, whither a beautiful female repaired every morning to weep for her lover. As the sun's golden disk rose higher in heaven, his rays fell on the tear and the dew-drop, but glanced with double brillancies on the pearl shook from the tresses of Aurora. The liquid jewel, proud of its lustre, thus addressed its neighbor:-"How darest thou appear thus solitary and lustreless?" The modest tear made no answer; but the zephyr that just then was wantoning near them, paused in its flight, brushed down with its wing the glittering dewdrop, and folding the humble tear of affection in its embrace, carried it up to heaven!—Noлн.

The human heart revolts against oppression, and is soothed by gentleness, as the waves of the ocean rise in proportion to the violence of the winds, and sink, with the breeze, into mildness and serenity.

TWO DOLLARS A YEAR,]

VOL. I.

ORIGINAL

[merged small][ocr errors][merged small][merged small]

PAPERS.

FOR THE FAMILY MINSTREL.

BIOGRAPHY OF HAYDN.

In our last paper we saw Haydn struggling painfully, yet successfully, through the difficulties which beset him in his musical education; and we left him finally in the situation of musical professor in the Esterhazy family.

[PAYABLE IN ADVANCE.

NO. 12.

sion, but he was saved from all by his religion; and he stands out in bright contrast to many of his musical brethren, as a talented, an honest, a persevering, and a religious man. We have only room to add, that his works consist of nine hundred and ninety pieces,-among which are 118 Symphonies, 82 Quartetts, and 22 Operas and Oratorios. Z. L.

stratagem: he hid a pretty German girl behind | the temptations which assail men of his profes-
a curtain in the painting room, and as soon
as he saw Haydn's spirits begin to fail, he
drew aside the curtain, and the girl addressed
the astonished musician in his native tongue.
Haydn was perfectly delighted, and continued
conversing with the greatest spirit, until Sir
Joshua had fully succeeded in his design.
This story is given on the authority of M.
Bombet, and it is so pretty, and so much like
both the painter and the musician, that we re-
peat it, notwithstanding the sneer of the Quar-
terly.

No sooner had he obtained this good fortune, than he acquitted himself of a promise he had made in early life. Our readers will remember his engagement to the daughter of Keller, the kind-hearted peruke-maker, who took him into his house solely for the love of his music. The marriage was not productive of happiness; and after spending a short time very uncomfortably together, by mutual consent they sepa-pendence, and at the same time illustrates his rated, and Haydn took comfort in the society of other friends, and in the greater devotion to his favorite science.

His two visits to London furnish a great many interesting anecdotes; but for fear of wearying our readers, we give but one more ; and we chose this, because it shows his inde

intention of what was good in composition.

An English Lord wished to learn counterpoint from him, and having one of Haydn's quartetts in his hands, he proposed to take the first lesson, by asking the reason of the various changes and transgressions of the rules which he had observed? Haydn was a good deal em

tion,-" I did this, my Lord, because I think it suitable; and that passage I placed there, because it has a fine effect." The nobleman contended that it could not be well, because it was contrary to the rules, and still persevered in his questions. At last Haydn was wearied out, and exclaimed, Ah, my Lord, I see it is you, who are so good as to give lessons; and I am obliged to confess, that I do not merit the honor of having such a master."

With the exception of this unpleasant occurrence, Haydn's life was as happy as any one could wish, and so peaceful and monotonous, that, for the space of thirty years, there is but little left for us to record. His daily employ-barrassed, and answered to this and that quesment was to rise early, and after dressing himself with the greatest neatness, to sit down at a small table near a piano, where he would remain till dinner. Occasionally he would ride out to hunt with his friends, but this was very seldom. His evenings he would spend at musical entertainments, some of which were performed at the palace four nights in the week. This course of life was at last interrupted by the death of his patron, in 1789. Upon this, Haydn determined to accept one of the many invitations which had been showered upon him from the chief cities of Europe, and accordingly went to London. Here he devoted himself to the study of Handel's works, and acquiring from them new ideas of sublimity, he soon composed the most magnificent of his efforts, the Creation and the Seasons.

While in London an incident occurred, which showed that, notwithstanding the high musical cultivation to which he had arrived, he never lost that love for simplicity which was taught him in his early days. He was present at a celebration in St. Paul's, and heard a hymn sung in unison by four thousand children; and after it was over, he assured a friend that it gave him the greatest pleasure he' ever received from the performance of music.

His talents commanded the attention and respect of the royal family, and one of the English princes commissioned Sir Joshua Reynolds to take his portrait. Haydn commenced sitting to the painter; but, for one of his vivacious temperament, the employment was insufferably tedious, and his countenance under the operation, usually became so stupid and dull, that the artist could never succeed in catching the traits. At last he resorted to the following

The University of Oxford made him Doctor of Music; and loaded with honor, and followed by the good will of all, he returned to his native country, and spent the remainder of his days in a small but delightful residence on the borders of the imperial park, in the suburbs of Vienna.

In this calm retreat he spent the evening of his days, devoting his whole time to that religion which he never neglected, even when he was apparently giving his whole soul to the studies of his profession. In this situation he was during the siege of Vienna by the French, and could not be persuaded to leave his beloved retreat, even when the cannonading began quite near. In the midst of it he rose from his seat, and being carried to the piano, he sung with the small remains of vigor that were now left him, his national hymn, "God preserve the Emperor." His strength was soon exhausted, and a fatal stupor succeeded this last act of enthusiastic loyalty. He died 1809.

It is a delightful task to paint the character of a man like this. Would that there were more like him. He was placed in circumstances of the greatest difficulty and hardship; but diligence and perseverance made him always successful. He was subjected to all

FOR THE FAMILY MINSTREL.

AN INQUIRY INTO THE ELEMENTARY CONSTITUTION
OF THE HUMAN VOICE,-OR
SPEECH, AS A MUSICAL SCIENCE.
NO. IV.

In our first essay we presented the reader with the diatonic scale, consisting of five tones and two semitones. We shall now apply its notes, in the formation of the Diatonic Melody of Speech, which belongs to narrative or descriptive reading, or common unimpassioned conversation.

As there is in nature a wide distinction between thought and feeling, we are furnished with the higher intervals of the concrete scale, to express the one, and the consecutive notes of the diatonic or natural scale, to give utterance to the other. Monotony in simple reading is one of the most glaring faults in general readers. It is easy to work up the mind to that condition necessary to give force to impassioned utterance, but difficult to impart to it that simple yet pleasing variety, which throws the charm of musical harmony over descriptive reading, or that of mere epistolary correspondence. The diatonic scale furnishes us with the necessary means of so doing, if its notes are fixed on the ear, and obedient to the will. The arrangement of those notes will depend on the taste of the reader. We have no special rule to lay down on this portion of the subject: his ear must be the guide to his melody, but the rise or fall through one tone must not be violated, or it will be broken. He who attends to the current of the voice in general simple utterance, the mere parlance of the day, will readily perceive that its notes are in a rising direction; that the vanish of the voice on each syllable, except the last, obeys this law, except for particular purposes hereafter to be mentioned. Nor is the case altered in animal life: the succession of notes in the bleating of a lamb, the neighing of a horse, the bellowing of a cow, are universally in a rising continuity, until the period when the animal seeks repose from its vocal labors, in the stillness of silence. Immediately preceding this act, the voice gradually decreases its pitch on a rising vanish, until on the final effort it sinks into the lowest note of the scale, with a downward vocal vanish. This is the final cadence: the act which assures the hearer that the labor has ended. In the current of conversation, the voice moves in a similar progression, viz., a

« PreviousContinue »