SACRED MUSIC.

  1. MUSÆ LYRICÆ, original melodies composed for four voices, by the REV. CHARLES DAY, LL.B., Vicar of Rushmere, 1832. (Mori and Lavenu.)
  2. CHRISTIAN VESPERS, written and composed by C. HUCHESON, Esq., 1832. (Glasgow, R. and J. Finlay.)

OF all the accomplishments which shed a grace over the clerical character, music is the most becoming. There is ‘nothing more strong and potent unto good than music,’ says Hooker; and Martin Luther ranks it next to theology. It is a social art, which draws persons together to enjoy a pleasure which can excite no bad passion, and who separate without any cause to regret an aching head, or a lightened purse, and, probably, a loss of temper. It very much assists in confining what are called the pleasures of the table within reasonable limits. It softens, though it never enervates the mind; and even if indulged in to excess, to the exclusion of more important pursuits, leaves at least the bodily health unimpaired. But, viewed as part of our church service—an essential part, indeed, the great length of the liturgy being considered—it is incumbent on the ministers of religion to acquire a competent knowledge of that which ought to be calculated to act very influentially, though calmly, on their congregations. In cathedrals it is absolutely necessary that the officiating clergy be well acquainted with music, for the greater part of the service in those establishments is set to musical notes. Hence we think it will be admitted, that a divine does not leave his calling when he dedicates some portion of his studies to an art so closely connected with his profession; and Mr. Day, while writing his present work, may truly be said to have been labouring in his vocation. Much more so, past all dispute, than if, following the example of so many of his brethren, he had devoted the same time to the performance of magisterial duties. We say nothing of hunting, and such unintellectual, savage amusements, presuming that very few of our clergy now engage in pursuits so utterly incompatible with the sacred character.

The volume before us contains twenty-two short pieces of vocal harmony, much, in fact, in the style of the psalm-tune, but more modern in all respects. The melodies are pleasing, some of them original; and in harmonizing these the composer has been quite successful, except in the few instances hereafter to be mentioned. Indeed a superior taste, and a knowledge of the best schools, distinguish most of Mr. Day’s pages. The words—which we must observe seem to partake strongly of what is called Evangelical feeling—are selected from Bishop Heber, Watts, Cowper, Wesley, Toplady, &c., the expression and accentuation whereof are irreproachable, except in one or two trifling instances not worthy of remark. But pleasing and good as the harmony generally is, we discover a few errors in it, which, in a work displaying so much talent and skill, rather surprise us. At page 14, third bar from the end, are three octaves. At page 26, the latter four bars exhibit more of such errors—that is, if it be intended that the base should take the lower notes. If otherwise, however, the unisons are very meagre. But severe critics will exclaim loudly at two consecutive fifths between the second and third bars of page 46, which, notwithstanding the enormity of the offence, we confess are less painful to our ears than the eighths we have just pointed out, though they will meet with no mercy from musical rigorists, and undoubtedly ought to have been detected by the composer, and corrected.

The manner in which this volume is brought out is an undeniable proof of the elegant taste of either the proprietor or his publisher; and the charitable purpose to which the profits arising from the sale of it are to be applied, is no less indicative of the benevolent feeling of the reverend author.

Mr. Hucheson’s work consists of sixteen original airs, harmonized for three and four voices. But to these are prefixed nine full quarto pages of what the writer denominates an ‘Introductory Sketch,’ to which, being by far the best and most interesting part of the volume, we first give our attention. It is a brief account of the origin and progress of musical psalmody, which he shows, from ecclesiastical historians, to have been introduced into England by Gregory the Great, at about the close of the sixth century. ‘In the seventh century a person not only taught the Monks sacred music, in the neighbourhood of Wearmouth, but also opened schools for musical instruction in the northern shires of England. Afterwards a similar school was established in Canterbury, and other places were provided with teachers from that country. The reign of Alfred adorned the close of the ninth century, and by him music was liberally patronised. St. Dunstan, in the tenth century, excelled in sacred music, as well as in the arts of painting and sculpture.’ In succeeding centuries much of the ample revenues of the church were expended in the encouragement of music. ‘Indeed, so much was it then studied, that the priests of almost every European nation travelled to Rome to learn chanting.’

Mr. Hucheson is a strenuous advocate for congregational psalm-singing. His arguments are incontrovertible, if those who would sing, could, and if those who could sing, would; but, unhappily, the want of ability in some, and either the shyness or the pride (we fear the latter) of others, presents an insurmountable obstacle to so desirable a practice. The author is of opinion that congregations should be instructed in psalmody, and that ‘a choir, consisting of their own members, ought to occupy a situation in the church near the conductor of the music.’ ... ‘The music of the church would immediately become a theme of conversation at home, and of remark abroad; and the subject being frequently discussed, would lead to just views of its importance, and originate plans for its improvement, by the influence of judicious criticism.’

As we have said above, if the great length of our morning service is to continue unabridged, music must remain an essential part of it: without the intervention of this, attention could hardly for so long a time, and amidst so many repetitions, be kept alive; and if introduced, it ought to be good. At all events, whatever in any degree tends to excite ridiculous ideas should be most scrupulously avoided; and what can be more ludicrous than the squalling of a bevy of charity-children—the vocal musicians of most parish churches? But will congregations be induced to join heart and voice in the psalm, or any other kind of music? We fear not; for though, owing to the increased diffusion of musical knowledge, numbers are qualified, and would soon qualify others, yet absurd aristocratic feeling is so prevalent in this our country, that where humility should be most felt—in places of worship,—each class, from the highest to almost the lowest, considers it a degradation to unite with those beneath it, and pride, the denounced of religion and bane of society, is as little suppressed in the church as at Almack’s.

Of the music in this work we cannot say much that will prove gratifying to the composer. His melodies are not censurable, we admit, except as being common; but his knowledge of harmony, as evinced in his accompaniments, is of a very imperfect kind, and he seems not to have taken the precaution to avail himself of that assistance which we presume was easily to have been obtained.