A collection of specimens of the sacred songs, with the tunes, used by
the different Christian sects, would be very interesting, and might be
instructive to the musician if it were compiled according to the
following plan.
The collection should contain the most characteristic and favourite
songs used at the present day in public worship and in family devotion.
Probably at least a dozen specimens would be required from each sect, to
exhibit clearly the characteristics of the common songs. But, besides
these, specimens of the songs performed at religious festivals and
suchlike extraordinary occasions, should be given.
The tunes should be rendered in notation exactly as they are usually
sung. If the people sing them in unison, they should not be harmonized;
and if they sing them in harmony, the several parts should be faithfully
written down, however they may be, without any attempt at improvement,
and without unwarranted additions.
If instrumental accompaniment is used, it should not be arranged for any
other instrument than that on which it is usually played; its original
peculiarities should be strictly preserved.
There exist not unfrequently different readings of the same tune.
Wherever this is the case, the most common reading should be given
first; and, of the deviations or varieties of the tune, which may chance
to be preferred by some congregations, the most usual ones ought to be
indicated in small notes after the notation of the tune as it is most
commonly sung.
Many of the tunes belonging to the songs are very old, and several of
them have been derived from secular songs. Some historical account of
these songs would greatly enhance the value of the collection. The
alterations which they have undergone in the course of time might, where
they are traceable, be shown in notation referring to different
centuries or periods; and if the secular melody from which the sacred
tune has been derived is still extant, it might likewise be given.
The specimens of songs appertaining to a sect should be prefaced by some
account of the doctrines and religious ceremonies peculiar to the sect,
and especially by a lucid explanation of the prevailing manner in which
the music is executed.
Furthermore, the value of the collection would be increased by admitting
also examples of the most popular instrumental pieces used in divine
worship; or, at any rate, by giving a description of them, should they
be too long for insertion. The field for research and selection of
materials for the preparation of such a work is so extensive that much
discernment would be required, in order to exhibit clearly the
distinctive features of the music of each sect without enlarging the
work to a size which would be inconvenient.
The immense number of hymn-books for congregational use, published with
or without musical notation, which have appeared since the time of the
Reformation, is almost overwhelming to the student, and rather increases
than facilitates the labour of selecting the most noteworthy examples
for a work like that in question. Here, however, valuable assistance
might be obtained by a careful reference to certain works on hymnology
by C. von Winterfeld, G. von Tucher, Hoffmann von Fallersleben, P.
Wackernagel, and others.
Although congregational singing has been especially cultivated since the
time of the Reformation, it is not foreign to the Roman Catholic Church;
indeed, a very interesting collection might be made of old songs with
the music occasionally performed by Roman Catholic congregations. With
their spiritual songs and hymns in Latin, which were composed during the
Middle Ages, they had sacred songs in their vernacular language dating
from a period anterior to the Reformation. After having flourished,
especially in Germany during the seventeenth century, the congregational
singing of the Roman Catholic Church fell gradually more and more into
disuse until the present century, when attempts to revive it have been
made in some of the dioceses. The oldest known Roman Catholic hymn-book
in German dates from the year 1517, and was compiled by Michael Vehe. It
contains seventy-four tunes, some of which were especially composed for
the book; the others were old and well-known tunes. However, the most
comprehensive of the old collections of sacred songs for popular use
dates from the year 1625, and was compiled by the Abbot David Gregorius
Corner. Among the books of this description subsequently published are
several which contain songs in the German language intended to be sung
by the people at the principal church festivals, in processions,
pilgrimages, and also at Holy Mass. On the last-mentioned occasion a
hymn was sometimes introduced after the Transubstantiation. It was also
not unusual on high festivals for the priest to sing in Latin, and the
people to respond in German. The musical student would do well to
acquaint himself with the modern publications of Roman Catholic songs,
as for instance, 'Cantica Spiritualia,' Augsburg, 1825; 'Kirchen und
religiˆse Lieder aus dem 12 ten bis 15 ten Jahrhundert,' by J. Kehrein,
Paderborn, 1853; the sacred songs collected by Freiherr von Ditfurth,
Leipzig, 1855, and others.
Examples of elaborate vocal compositions, with or without instrumental
accompaniment, generally performed by an appointed choir of singers and
by professional musicians, would probably demand too much space in a
compendium like that which has been suggested above; but, at all events,
some account might be given of such compositions. Those belonging to the
Roman Catholic Church are especially important. The most popular
specimens should be pointed out. They are in many instances easily
obtainable. True, the most popular ones are by no means generally also
the best; but it would be desirable to ascertain accurately the popular
taste of the present day.
As regards the Chorales of the Lutheran Church, it would be necessary to
trace the alterations which they have undergone in the course of time.
For this purpose the best Chorale books published in Germany during the
16th and 17th centuries would require especial attention; as for
instance, those by Spangenberg, 1545; PrÊtorius, 1604; Hassler, 1607;
Schein, 1627; Sch¸tz, 1628; Cr¸ger, 1640, and others. The division of
Germany into many little principalities may be the chief cause of the
enormous number of published collections of songs for congregational
use, since every petty sovereign liked to have in his dominion something
exclusive, and the people liked it too. Thus, there is no hymn-book
which is universally adopted in the Lutheran Church of Germany, and many
publications of the kind are but poor compilations,--at any rate, as far
as the music is concerned. The noble Chorale of the time of Luther has
gradually lost, by tamperings with its harmony and its rhythmical flow,
much of its original dignity and impressiveness. It has suffered
especially by the objectionable interludes which the organists
introduced, and still introduce, not only between the verses, but also
at every line which terminates with a pause in the musical notation.
These interludes, which not unfrequently are extempore effusions of the
organist, may afford him an opportunity to display his skill in
counterpoint, and perhaps his manual dexterity; but they are for this
reason all the more out of place in a Chorale. Still, as they constitute
one of the characteristics of certain congregational musical
performances of the present day, some examples of them should be given
in the work.
Likewise the notation of a Chorale with a figured bass should not be
omitted. A considerable number of Chorale books containing only the
tunes with the bass, the harmony produced by the tenor and alto being
indicated by figures, have been published chiefly for the use of
organists, who of course may be supposed to be familiar with
thorough-bass. In the year 1730, Georg Philip Telemann, in Hamburg,
published his 'Fast allgemeines Evangelisch-Musicalisches Lieder-Buch,'
which contains 433 Chorales; the different readings of the same tune, in
use at that time, are indicated by small notes, and the tunes have a
figured bass, with some instruction at the end of the book for
inexperienced thorough-bass players.
The Chorales of the Hussites are especially deserving of investigation.
Luther appreciated them highly, and several of them were adopted by the
Protestants at the time of the Reformation. The Enchiridion, anno 1524,
which has already been mentioned in another place,[77] contains two from
this source. The earliest published collections of the Chorales of the
Hussites, in which the poetry is in the Czech language, are: Jona Husa,
Cantional, 1564; Girjka Streyce, Chorales with Goudimel's harmony, 1593;
D. K. Karlsperka, Chorales, 1618. Noteworthy are likewise the songs of
the Hussites collected and published by K. J. Erben, Prague, 1847. Also
the following in German: A Chorale book of the Bohemian and Moravian
Brethren, edited by Michael Weiss, 1531. The same enlarged by Johann
Horn, 1596. A Chorale book of the Herrnhut Brethren, edited by Christian
Gregor, 1784. Gregor, who was organist as well as bishop in Herrnhut, is
the inventor, or originator, of the peculiar construction of the organ
generally adopted by his sect, in which the player is seated so as to
face the congregation. His publication, which contains 467 Chorales with
figured basses, was the first work of its kind printed for the Herrnhut
Brethren, and constituted the musical portion of their song-book printed
in 1778.
Turning to the sacred poetry of the Reformed Church in Switzerland and
France, we find a famous collection of metrical psalms in French,
written at the request of Calvin by ClÈment Marot and ThÈodore de BËze,
to which tunes were composed or adapted, by Bourgeois, in 1547, and by
Goudimel, in 1565. Some musical historians assert that Bourgeois and
Goudimel derived their tunes from a German collection by Wilhelm Franck,
published in Strassburg in the year 1545, so that their merit consists
only in having set them in four-part harmony. It would certainly be
desirable to have the tunes properly traced to their original source.
Several of these old Chorales were gradually adopted by various
denominations in different countries. A collection with the poetry in
the Czech tongue, edited by G. Streyce in 1593, which has already been
alluded to, corresponds exactly with a French edition published in Paris
in the year 1567, which bears the title 'Les CL. Pseaumes de David, mis
en rime Francoise par ClÈment Marot et ThÈodore de BËze,' and in which
the syllables of the Solmisation are printed with the notation of the
tunes. On Marot's poetry with Goudimel's music is also founded the
German Cantional entitled 'Psalter des Kˆniglichen Propheten David,' by
Ambrosius Lobwasser, Leipzig, 1574, a publication which was highly
thought of in Germany, Switzerland, and Holland, and which retained its
popularity until the eighteenth century.
Also the Italian Chorale book, entitled 'Sessanta Salmi di David,
tradotti in rime volgari italiene, etc. De la stampa di Giovanni
Battista,' Pinerolo, 1566, contains, besides a number of new tunes,
several which have evidently been borrowed from the French work.
Again, the first edition of metrical psalms with musical notation for
the Church of England, by Sternhold and Hopkins, London, 1562, contains
several tunes derived from the Calvinists and Lutherans on the
Continent. This edition has merely the melodies without any harmonious
accompaniment, not even a bass. They were intended, as the title-page
informs us, "to be sung in churches of the people together, before and
after evening prayer, as also before and after sermon; and moreover in
private houses, for their godly solace and comfort, laying apart all
ungodly songs and ballads, which tend only to the nourishment of vice
and corrupting of youth." In an edition dating from the year 1607 the
syllables of the Solmisation are annexed to the musical notation, as we
find it in Marot's version with Goudimel's music. This was intended as
an assistance to unmusical singers; or, as the English publisher says,
"that thou maiest the more easily, by the viewing of these letters, come
to the knowledge of perfect solfayeng whereby thou mayest sing the
psalms the more speedilie and easilie." Even the tablature of the lute
is used in combination with the notation, in a curious English book
entitled 'Sacred Hymns, consisting of fifty select Psalms of David and
others, paraphrastically turned into English Verse, and by Robert
Tailovr set to be sung in five parts, as also on the Viole and Lute or
Orpharion. Published for the vse of such as delight in the exercise of
Mvsic in hir original honour,' London, 1615.
The 'Chorale Book for England,' edited by W. S. Bennett and O.
Goldschmidt, London, 1865, contains in a Supplement some tunes of
English composers of the seventeenth and eighteenth centuries; while the
great majority of the tunes of which the work is compiled have been
taken from the famous old Chorale books of the Lutheran Church. It
rather shows how, in the opinion of the compilers, the congregational
music of the Church of England ought to be, than how it actually is at
the present day. At all events, it cannot be regarded as a repository of
the most favourite tunes of the majority of the congregations. The tunes
preferred are often without originality, rather morbidly-sentimental,
not unlike modern secular airs of a low kind. The collection of the
tunes used by a congregation is not unfrequently a compilation by the
organist. Many of the organists are but superficial musicians, while the
clergymen generally know nothing about music. Performances of elaborate
compositions are attempted, which would tax the power of well-trained
professional musicians, and which the congregations would not think of
attempting if they possessed musical knowledge. In fact, the only vocal
music which a congregation is competent to perform in an edifying manner
is a simple tune in a small compass, like the old Chorales, sung in
unison,--or, more strictly speaking, sung by male and female voices in
octaves,--while the organ accompanies in four-part harmony. To execute a
tune well even thus, is more difficult than many imagine; but, if it is
accomplished by the whole congregation, the effect is very solemn and
impressive. The inquirer ought, of course, to examine the most popular
collections of the present day, such as 'Hymns Ancient and Modern;'
'Church Hymns with Tunes,' edited by A. Sullivan, published under the
direction of the Tract Committee of the Society for Promoting Christian
Knowledge; and the comprehensive 'Hymnary' edited by J. Barnby.
Moreover, regard should be taken to the preference given to certain
kinds of musical performances by the several congregations of
worshippers belonging to the Anglican Church, such as the High, the Low,
the Broad Church-men.
The admission of secular tunes into the hymnology, which in the Anglican
Church finds advocates even in the present century, has caused the
publication of several curious collections of sacred poetry set to
melodies taken from secular compositions of Haydn, Mozart, Beethoven,
and other celebrated musicians, and often painfully distorted to adapt
them to the metre of the verses. True, the adaptation of secular
melodies for sacred songs is not a new expedient. It was resorted to by
our estimable composers of chorales and promoters of congregational
singing at the time of the Reformation. The old secular songs from which
some of the chorales have been derived are still known, and it appears
probable that several chorales, the origin of which is obscure, likewise
emanated from this source. The secular origin of such old tunes does not
detract from their suitableness for devotional service, since their
secular ancestors are no longer popular, and also because three hundred
years ago there was not the difference between the style of sacred and
secular music which exists in our day. It is a very different thing to
apply to sacred words a modern secular tune the secular words of which
are well known.
Still, something similar was done by the Netherlandish composers of
church music even long before chorales were constructed from secular
tunes. These composers introduced the airs of popular songs into their
Masses, to render their labours in counterpoint more attractive to the
multitude.
About the middle of the sixteenth century, some noteworthy metrical
versions of the psalms in Dutch were published in Antwerp. All the
tunes of these psalms, given in notation, are derived from secular
popular Dutch songs. Of this description is Symon Cock's publication,
entitled 'Souter Liedekens ghemaect ter eeren Gods op alle die psalmen
van David;' anno 1540. The most important work of the kind, however, was
brought out by Tielman Susato. It probably comprises most of the secular
airs and dance-tunes which were popular in the Netherlands during the
sixteenth century. Tielman is supposed to have been a native of Soest, a
town in Westphalia, Germany, which the citizens called in Latin
_Susatum_; hence his adopted name Susato. His work consists of six small
volumes, in oblong octavo, containing in all 245 tunes. The first volume
is entitled: 'Het ierste musyck boexken mit vier Partyen daer inne
begrepen zyn XXVIII. nieuue amoreuse liedekens in onser neder duytscher
talen, gecomponeert by diuersche componisten, zeer lustig om singen en
spelen op alle musicale Instrumenten. Ghedruckt Tantuuerpen by Tielman
Susato vuonende uoer die nieuue vuaghe Inden Cromhorn. Cum Gratia et
Privilegio. Anno MCCCCCLI.' ("The first Music Book, in four parts,
wherein are contained 28 new lovely songs in our Low Dutch language,
composed by different composers, very pleasant to sing and to play upon
all kinds of musical instruments. Printed at Antwerp by Tielman Susato,
dwelling in the Cromhorn over against the new Weighing house, anno
1551.") The Cromhorn (German, _Krummhorn_; Italian, _Cormorne_), an old
wind-instrument of the bassoon family, was evidently used by Tielman
Susato as a sign for his office, just as we find with the English
music-sellers some centuries ago the sign of the "Base Viol," the
"Golden Viol," &c. Volume II. contains likewise secular songs in
four-part harmony. Volume III. contains a collection of dance tunes,
called on the title-page "Basse dansen, Ronden, Allemaingien, Pauanen,
Gaillarden," etc., and appeared with the preceding ones in the year
1551. The old Dutch dances were generally walked, or trodden, and the
dancers sang at the same time.
Volume IV. bears the title: 'Sovter Liedekens, I. Het vierde musyck
boexken mit dry Parthien, waer inne begrepen syn die Ierste XLI.
psalmen van Dauid, Gecomponeert by Jacobus Clement non papa, den Tenor
altyt houdende die voise van gemeyne bekende liedekens; Seer lustich om
singen ter eeren Gods. Gedruckt Tantwerpen by Tielman Susato wonende
voer die Nyeuwe waghe Inden Cromhorn. Anno 1556.' ("Sweet Songs, I. The
fourth music book, in three parts, wherein are contained the first 41
Psalms of David, composed by Jacobus Clement non papa, the Tenor always
having the air of commonly-known songs; very pleasant to sing to the
honour of God. Printed at Antwerp, by Tielman Susato, dwelling in the
Cromhorn over against the New Weighing house, anno 1556.") The other
volumes likewise contain psalms with secular tunes arranged in the same
way. Clement was a celebrated musical composer, who obtained the
addition of _non papa_ to his name, to guard against the possibility of
his being mistaken for Pope Clement VII. his contemporary. The secular
song from the air of which the three-part music has been constructed, is
always indicated in the heading, by the first line of the secular song.
For instance: 'Den eersten Psalm, _Beatus vir qui non_, etc.; Nae die
wyse, _Het was een clercxken dat ginck ter scholen_.' ("To the air: He
was a little scholar who went to school.") 'Den XVIII. Psalm; Nae die
wyse, _Ick had een ghestadich minneken_.' ("To the air: I had a stately
sweet-heart.")
Moreover, not only secular music, but also sometimes the poetry of a
popular secular song, was altered for sacred use. H. Knaust published,
in the year 1571, in Frankfurt: 'Gassenhawer, Reuter vnd Berglidlin
Christlich moraliter vnnd sittlich verendert,' etc. ("Low Street Songs,
Soldiers' and Miners' Songs, altered into Christian and moral Songs.")
No sect probably has been more extraordinary in the adoption of secular
tunes than the Muggletonians in England. Lodowicke Muggleton and John
Reeve founded this sect, in the year 1651. Macaulay, in his History of
England, (London, 1854, Vol. I., Chap. 2) notices the former in terms by
no means complimentary. He says: "A mad tailor, named Lodowicke
Muggleton, wandered from pothouse to pothouse, tippling ale, and
denouncing eternal torments against those who refused to believe, on
his testimony, that the Supreme Being was only six feet high, and that
the sun was just four miles from the earth." In the year 1829 Joseph and
Isaac Frost published in London 'Divine Songs of the Muggletonians, in
grateful praise to the Only True God the Lord Jesus Christ.' Many of the
hymns are written to secular tunes, such as--_By a prattling stream on a
midsummer's eve_;--_When I spent all my money I gained in the
wars_;--_Cupid, god of soft persuasions_;--_Dear Cloe, come give me
sweet kisses_; etc. The following commencements of a few of the hymns
will suffice to show their character:--