The establishment had once been able to afford good music-books, and in the attenuated list of subscribers to the first-edition Boyce you may see to this day, “The Rector and Foundation of Cullerne Minster (6 copies).” Mr Sharnall loved the great Boyce, with its parchment paper and largest of large margins. He loved the crisp sound of the leaves as he turned them, and he loved the old-world clefs that he could read nine staves at a time as easily as a short score. He looked at the weekly list to check his memory—“Awake up my Glory” (Wise). No, it was in Volume Three instead of Two; he had taken down the wrong volume—a stupid mistake for one who knew the copy so well. How the rough calf backs were crumbling away! The rusty red-leather dust had come off on his coat-sleeves; he really was not fit to be seen, and he took some minutes more to brush it all off. So it was that Canon Parkyn chafed at being kept waiting in the clergy-vestry, and greeted Mr Sharnall on his appearance with a certain tartness:
“I wish you could be a little quicker when you are sent for. I am particularly busy just now, and you have kept me waiting a quarter of an hour at least.”
As this was precisely what Mr Sharnall had intended to do, he took no umbrage at the Rector’s remarks, but merely said:
“Pardon me; scarcely so long as a quarter of an hour, I think.”
“Well, do not let us waste words. What I wanted to tell you was that it has been arranged for the Lord Bishop of Carisbury to hold a confirmation in the minster on the eighteenth of next month, at three o’clock in the afternoon. We must have a full musical service, and I shall be glad if you will submit a sketch of what you propose for my approval. There is one point to which I must call your attention particularly. As his lordship walks up the nave, we must have a becoming march on the organ—not any of this old-fashioned stuff of which I have had so often to complain, but something really dignified and with tune in it.”
“Oh yes, we can easily arrange that,” Mr Sharnall said obsequiously—“‘See the Conquering Hero comes,’ by Handel, would be very appropriate; or there is an air out of one of Offenbach’s Operas that I think I could adapt to the purpose. It is a very sweet thing if rendered with proper feeling; or I could play a ‘Danse Maccabre’ slowly on the full organ.”
“Ah, that is from the ‘Judas Maccabaeus,’ I conclude,” said the Rector, a little mollified at this unexpected acquiescence in his views. “Well, I see that you understand my wishes, so I hope I may leave that matter in your hands. By the way,” he said, turning back as he left the vestry, “what was the piece which you played after the service just now?”
“Oh, only a fugal movement—just a fugue of Kirnberger’s.”
“I wish you would not give us so much of this fugal style. No doubt it is all very fine from a scholastic point of view, but to most it seems merely confused. So far from assisting me and the choir to go out with dignity, it really fetters our movements. We want something with pathos and dignity, such as befits the end of a solemn service, yet with a marked rhythm, so that it may time our footsteps as we leave the choir. Forgive these suggestions; the practical utility of the organ is so much overlooked in these days. When Mr Noot is taking the service it does not so much matter, but when I am here myself I beg that there may be no more fugue.”
The visit of the Bishop of Carisbury to Cullerne was an important matter, and necessitated some forethought and arrangement.