The Standard Oratorios Part 15

St. David's Tune. } Martyrs Tune. } To Psalms of Praise and Thanksgiving.

"These two tunes are eight notes compa.s.s above the first note, and therefore begin the first note low.

"Of five long tunes following:

"Hackney Tune--119 Psalm Tune, second metre. These two tunes begin your first note low, for the compa.s.s is nine notes, and eight above the first note of the tune.

"100 Psalm Tune. This one tune begin your note indifferent high, in regard you are to fall your note lower than your first pitch note.

"113 Psalm Tune, and 148 Psalm Tune.--These two tunes begin your first note low, in regard the Tune ascends eight notes above it."

The turmoil in the churches was settled for a time by Rev. John Cotton, who issued a tract ent.i.tled "Singing of Psalms a Gospel ordinance, or a Treatise wherein are handled these four Particulars: I. Touching the duty itself. II. Touching the matter to be sung. III. Touching the singers.

IV. Touching the manner of singing." In this tract the author says:--

"For the first Question we lay downe this conclusion for a Doctrine of Truth: That singing of Psalms with a lively voyce, is an holy duty of G.o.d's worship now in the day of the New Testament. When we say, singing with lively voyce, we suppose none will so farre misconstrue us as to thinke we exclude singing with the heart; for G.o.d is a Spirit, and to worship him with the voyce without the spirit, were but lip-labour; which (being rested in) is but lost labour, or at most profitted but little. Concerning the second Question we hold and believe that not only the Psalms of David, but any other spirituall song recorded in the Scripture, may lawfully be sung in Christian Churches. 2d. We grant also that any private Christian who hath a gifte to frame a spirituall song, may both frame it and sing it privately for his own private comfort, and remembrance of some special benefit or deliverance. Nor do we forbid the private use of any instrument of Music therewithall, so that attention to the instrument does not divert the heart from attention of the matter of song.

"Whether women may sing as well as men: For in this point there be some that deale with us as Pharaoh delt with the Israelites, who, though he was at first utterly unwilling that any should go to sacrifice to the Lord in the Wilderness, yet being at length convinced that they must goe, then he was content that the men should goe, but not the women. So here, some that were altogether against singing of Psalms at all with lively voyce, yet being convinced that it is a morall worship of G.o.d warranted in Scripture, then if there must be a Singing, one alone must sing, not all (or if all) the men only, and not the women. And their reason is: Because it is not permitted to a women to speake in the Church, how then shall they sing? Much less is it permitted to them to prophecy in the Church. And singing the Psalms is a kind of Prophecying."

Peace, however, was of short duration. Fresh quarrels arose. The early colonists were good fighters. They quarrelled over the question whether one should sing or the whole congregation; whether women as well as men should sing; whether pagans should be allowed to lift up their voices; and whether the scanty stock of tunes should be enlarged. Learning a tune by note, without having previously heard it, was almost a mortal offence, and at last something like a compromise was effected in some of the churches, where alternate singing by rote and rule satisfied both parties. The ministers added to the general confusion with a flood of circulars on the subject. Several of them issued a tract ent.i.tled "Cases of Conscience about singing Psalms," in which they ask:--

"Whether you do believe that singing Psalms, Hymns, and Spirituall Songs is an external part of Divine Worship, to be observed in and by the a.s.sembly of G.o.d's people on the Lord's Days, as well as on other occasional meetings of the Saints for the worshipping of G.o.d.

"Whether you do believe that singing in the worship of G.o.d ought to be done skilfully?

"Whether you do believe that skilfulness in singing may ordinarily be gained in the use of outward means by the blessing of G.o.d.

"Is it possible for Fathers of forty years old and upward to learn to sing by rule; and ought they to attempt at this age to learn?

"Do you believe that it is Lawful and Laudable for us to change the customary way of singing the psalms?

"Whether they who purposely sing a tune different from that which is appointed by the pastor or elder to be sung are not guilty of acting disorderly, and of taking G.o.d's name in vain also, by disturbing the order of the sanctuary."

Rev. Thomas Symmes, of Bradford, Ma.s.s., also issued a tract in which he contended for rule-singing. On this point he says:--

"The total neglect of singing psalms by many serious Christians for want of skill in singing psalm-tunes. There are many who never employ their tongues in singing G.o.d's praises, because they have no skill. It is with great difficulty that this part of worship is performed, and with great indecency in some congregations for want of skill; it is to be feared singing must be wholly omitted in some places for want of skill if this art is not revived. I was present in a congregation where singing was for a whole Sabbath omitted for want of a man able to lead the a.s.sembly in singing.

"The declining from and getting beside the rule was gradual and insensible. Singing-schools and singing-books being laid aside, there was no way to learn, but only by hearing of tunes sung or by taking the run of the tunes, as it is phrased. The rules of singing not being taught or learnt, every one sang as best pleased himself; and every leading-singer would take the liberty to raise any note of the tune, or lower it, as best pleased his ear, and add such notes and flourishes as were grateful to him; and this was done so gradually as that but few if any took notice of it. One Clerk or Chorister would alter the tunes a little in his day, the next a little in his, and so one after another, till in fifty or sixty years it caused a considerable alteration."

John Eliot, who was having famous success with the Indians, particularly in teaching them psalm-singing,--for Dr. Mather says "their singing was most ravishing,"--made a long contribution to the general discussion, which contains the following "Lamentation:"--

"That musick, which in itself is concord, harmony, melody, sweetness, charming even to irrational creatures, cheers the spirits of men, and tends to raise them in devotion, and in the praises of G.o.d, and was inst.i.tuted by G.o.d as a means of divine worship, which is a terrour to evil spirits, the delight of the holy Angels, and will be everlasting imployment of those Seraphim and the glorified Saints, should be an occasion of strife, debate, discord, contention, quarelling, and all manner of disorder. That men, the only creatures in the lower creation that are accomplished with reason and apt organs to praise G.o.d with, should improve them so to dishonour him; and that instead of an angelick temper in man, which they are capable of, and is required of them, and especially in this matter, there should be rather a cynick disposition and an improvement of such n.o.ble Organ to bark, snarl at, and bite one another; that instead of one heart and one voice in the praises of our Glorious Creator and most bountiful Benefactor, there should be only jangle, discord, and sluring and reviling one another, etc., this is, and shall be, for a lamentation."

The essay closes with the following exhortation:

"Whatever our thoughts are as to the mode or vocal part, whether the _old_ or the _new way_ (as it is called) be most pleasing to us, it would be our wisdom and a manifestation of our Christianity to deny ourselves and our own obstinate wills, which are apparently the chief cause of our contention in these things, and condescend (at least) so far one to the other as to keep time, _i.e._ to begin and end the lines all together, which if we did, there would not in most of the tunes commonly sung be so wide a difference as is by some imagined, many of the lines being near alike; if we all sincerely endeavour to exercise grace in Singing, and to perform the vocal part in the best manner we could, our service would be accepted of G.o.d. And I doubt not but regular singing would have a better relish with the most of our people and be comply'd with, and so our differences would end in a good and lasting union, and our jars and discords in a sweet and delightful concord and harmony. So let it be: Amen."

At last harmony was restored, and a serious effort was made to introduce better singing, in which the college at Cambridge took a leading part. In 1712, Rev. John Tufts, of Newbury, issued a book of twenty-eight tunes, so arranged by appending letters to the notes, as F for Fa, S for Sol, etc., "that the learner may attain the skill of singing them with the greatest ease and speed imaginable." These tunes were reprinted in three parts from Playford's "Book of Psalms." In 1721, Rev. Thomas Walter, of Roxbury, Ma.s.s., issued a new book, also compiled from Playford, which was highly commended by the clergy. The English singing-books by Tansur and Williams were reprinted by Thomas Bailey, at Newburyport, Ma.s.s., and had a large circulation. In 1761, James Lyon, of Philadelphia, published a very ambitious work, called "Urania, or a choice collection of Psalm Tunes, Anthems, and Hymns," which was compiled from the English books.

The edition, however, was a small one, and was issued in such an expensive manner that it ruined the unfortunate author. In 1764 appeared another collection, made by Josiah Flagg, who was a composer himself as well as band-master. Its t.i.tle reads: "A Collection of the best Psalm Tunes in two, three, and four parts, from the most approved authors, fitted to all measures and approved by the best masters in Boston, New England; the greater part of them never before printed in America.

Engraved by Paul Revere, printed and sold by him and Jos. Flagg." About the same time Daniel Bailey, of Newburyport, Ma.s.s., published "A new and complete Introduction to the Grounds and Rules of Music, in two Books;"

and in 1769, "the American Harmony," reprinted from English collections.

Up to this period, or, more strictly, to the year 1770, no American composers had contributed to New England psalmody. Though numerous singing-books had appeared, they were compiled from the English collections and reprinted. The first composer of church music in America was William Billings, born at Boston, Oct. 7, 1747. He was the son of poor parents, and followed tanning for an occupation. Gould, in his "History of Church Music," says of him:--

"Billings was somewhat deformed in person, blind in one eye, one leg shorter than the other, one arm somewhat withered, with a mind as eccentric as his person was deformed. To say nothing of the deformity of his habits, suffice it, he had a propensity for taking snuff that may seem almost incredible, when in these days those who use it are not very much inclined to expose the article. He used to carry it in his coat-pocket, which was made of leather; and every few minutes, instead of taking it in the usual manner, with thumb and finger, would take out a handful and snuff it from between his thumb and clenched hand. We might infer from this circ.u.mstance that his voice could not have been very pleasant and delicate."

This uncouth and eccentric tanner was the father of American church music, and of American choirs, concerts, and singing-schools as well. He wrote his first tunes on the boards of the tannery as he tended the bark-mill. He was a zealous patriot; and as Governor Samuel Adams was not only a still more zealous patriot, but devotedly attached to music, the two became warm friends and at one time sang together in a choir, evidently much to the distress of Adams, as his companion had a stentorian voice. His a.s.sociation with Adams led him to the composition of songs of a patriotic and religious character, one of which, set to the tune known as "Chester," played an important part in rousing the martial spirit of the colonists. It runs as follows:--

"Let tyrants shake their iron rod, And slavery clank her galling chains; We'll fear them not, we'll trust in G.o.d; New England's G.o.d forever reigns.

"The foe comes on with haughty stride, Our troops advance with martial noise; Their veterans flee before our arms, And generals yield to beardless boys."

That the tanner had a sly humor of his own is demonstrated by the following instructions appended to one of his anthems which was performed in a concert:--

"We've met for a concert of modern invention; To tickle the ear is our present intention; The audience seated, expect to be treated With a piece of the best.

"And since we all agree To set the key on E, The author's darling key He prefers to the rest, The ba.s.s take the lead, And firmly proceed; Let the tenor succeed," etc.

In 1770 his first compositions appeared in a work of one hundred and eight pages ent.i.tled "The New England Psalm Singer; or American Chorister. Containing a number of Psalm Tunes, Anthems, and Canons. In four and five parts. (Never before published.) Composed by William Billings, a native of Boston, in New England. Matt. xii. 16, 'Out of the mouth of Babes and Sucklings hast thou perfected Praise;' James v. 13, 'Is any merry, let him sing Psalms.'

'O, praise the Lord with one consent, And in this grand design Let Britain and the Colonies Unanimously join.'

Boston: New England. Printed by Edes and Gill."

In the preface to this work he quaintly says:--

"_To all Musical Pract.i.tioners._

"Perhaps it may be expected by some, that I could say something concerning rules for composition; to these I answer that _Nature is the best Dictator_, for all the hard dry studied rules that ever were prescribed will not enable any person to form an Air any more than the four and twenty letters, and strict Grammatical rules will qualify a scholar for composing a piece of Poetry, or properly adjusting a Tragedy without a Genius. It must be Nature; Nature must lay the Foundation, Nature must give the Thought. But perhaps some may think I mean and intend to throw Art entirely out of Question. I answer by no Means, for the more Art is displayed, the more Art is decorated. And in some sorts of composition there is dry Study requir'd, and Art very requisite. For instance, in a Fuge. But even there Art is subservient to Genius, for Fancy goes first, and strikes out the Work roughly, and Art comes after and polishes it over. But to return to my Text: I have read several Authors' Rules on Composition, and find the strictest of them make some Exceptions, as thus, they say that two 8vos or two 5ths may not be taken together rising or falling, unless one be Major and the other Minor; but rather than spoil the Air, they will allow that Breach to be made, and this Allowance gives great Lat.i.tude to young Composers, for they may always make that Plea, and say, if I am not allowed to transgress the Rules of composition I shall certainly spoil the Air, and cross the Strain that Fancy dictated. And indeed this is without dispute, a very just Plea, for I am sure I have often and sensibly felt the disagreeable and slavish Effect of such Restraint as is here pointed out, and so I believe every Composer of Poetry as well as Musick, for I presume there are strict Rules for Poetry, as for Musick. But as I have often heard of a Poetical License I don't see why with the same propriety there may not be a musical License, for Poetry and Musick are in close Connection, and nearly allied besides they are often a.s.sistants to each other, and like a true friend often hide each other's feelings. For I have known a Piece of Poetry that hath neither Rhime nor Reason in it, pa.s.s for tolerable good sense because it happened to be set to an excellent Piece of Musick, and to get Respect rather for its good Fortune in falling into such respectable company than for any Merit in itself: so likewise I have known and heard a very indifferent Tune often sung and much caress'd, only because it was set to a fine Piece of Poetry, without this recommendation, perhaps it would not be sung twice over by one Person, and would be deemed to be dearly bought only at the expense of Breath requisite to perform it.

"For my own part, as I don't think myself confined to any Rules for Composition laid down by any that went before me, neither should I think (were I to pretend to lay down rules) that any who comes after me were any ways obligated to adhere to them any further than they should think proper; so in fact I think it is best for every composer to be his own learner. Therefore upon this consideration, for me to dictate, or pretend to prescribe Rules of this Nature for others, would not only be very unnecessary but also a very great piece of Vanity."

His second work was the "Singing Master's a.s.sistant," an abridgment and revision of his first. His humor again crops out in the following extract from its preface:--

"Kind reader, no doubt you remember that about ten years ago I published a book ent.i.tled 'The New England Psalm-Singer;' and truly a most masterly performance I then thought it to be. How lavish was I of encomium on this my infant production! 'Welcome, thrice Welcome, thou legitimate Offspring of my brain, go forth my little book, go forth and immortalize the name of your Author: may your sale be rapid and may you speedily run through ten thousand Editions,' said I, 'Thou art my Reuben, my first born; the beginning of my Strength, the Excellency of my Dignity, and the Excellency of my power.' But to my great mortification I soon discovered it was Reuben in the sequel, and Reuben all over; I have discovered that many pieces were never worth my printing or your inspection.

"It is the duty of Christians to praise G.o.d publicly by singing of psalms together in the congregation, and also privately in the family.

In singing of psalms the voice is to be audible and gravely ordered; but the chief care must be to sing with understanding and with grace in the heart, making melody unto the Lord. That the whole congregation may join therein, every one that can read is to have a psalm-book, and all others not disabled by age or otherwise are to be exhorted to learn to read. But for the present, where many in the congregation cannot read, it is convenient that the minister or some fit person to be appinted by him and the other ruling officers, do read the psalms line by line, before the singing thereof."

Billings's other publications were "Music in Miniature," "Psalm Singers'

Amus.e.m.e.nt," "Suffolk Harmony," and "Continental Harmony." Though the crudest of musical works, for he was entirely unacquainted with harmony and musical rules, they had an immense influence. He was the pioneer, and the path he cleared was soon crowded with his successors. The most prominent of these were Andrew Law, born at Cheshire, Conn., in 1748, who published many books and taught in most of the New England States; Jacob Kimball, born at Topsfield, Ma.s.s., in 1761, who published the "Rural Harmony;" Oliver Holden, of Charlestown, Ma.s.s., who published the "American Harmony," "Union Harmony," and "Worcester Collection," and wrote the favorite tune "Coronation;" Samuel Holyoke, born at Boxford, Ma.s.s., in 1771, author of the "Harmonia Americana" and "Columbian Repository;" Daniel Reed, born at Rehoboth, Ma.s.s., in 1757, who published the "American Singing-Book" and "Columbian Harmony;" Jacob French, born at Stoughton, Ma.s.s., in 1754, who issued a work ent.i.tled "Harmony of Harmony;" Timothy Swan, born at Suffield, Conn., in 1757, who published "Federal Harmony" and "New England Harmony," and wrote the familiar tunes "Poland" and "China;" John Hubbard, who wrote many anthems and treatises on music; Dutton, of Hartford, Conn., who issued the "Hartford Collection," and wrote the tune of "Woodstock;" Oliver Shaw, born at Middleborough, Ma.s.s., in 1799, who was totally blind, but became a very successful teacher and composer. Gould says that his compositions were "truly original," and one of them, "There's Nothing True but Heaven," was repeated night after night by the Boston Handel and Haydn Society.

The era of psalm composers was followed by that of the singing-school teachers, who exerted a mighty influence upon sacred music and musical taste. At the same time numerous societies were organized, among them the Handel and Haydn Society of Boston, which was born April 20, 1815, and still exists,--a vigorous growth from the little gathering which gave its first concert on Christmas, Dec. 25, 1815, singing the first part of "The Creation" and selections from Handel's works, and was p.r.o.nounced by an enthusiastic critic of that time "the wonder of the nation." The great singing-teachers were Thomas Hastings of Washington, Conn., Lowell Mason of Mansfield, Ma.s.s., Nathaniel D. Gould of Chelmsford, Ma.s.s. Still later came George F. Root, Woodbury, Dyer, Bradbury, Ives, Johnson, and others, whose labors, both as composers and teachers, are familiar to all lovers of sacred music even at this day. The old-fashioned singing-school, however, has disappeared. The musical convention still survives in rural places. The great festivals, oratorio societies, the modern concert stage, even the opera, have all had their effect upon sacred music. The paid choir of professional musicians marks a long departure from the robust Puritan psalm-singers; its music is equally remote from the jingling tunes of Billings which "tickled the ears" of the colonists.