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Church and Organ Music. the Compleat Organist. VIII. of Old English Organ Music (Continued) Author(S): Harvey Grace Source: the Musical Times, Vol

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Church and Organ Music. the Compleat Organist. VIII. of Old English Organ Music (Continued) Author(S): Harvey Grace Source: the Musical Times, Vol Church and Organ Music. The Compleat Organist. VIII. Of Old English Organ Music (Continued) Author(s): Harvey Grace Source: The Musical Times, Vol. 55, No. 857 (Jul. 1, 1914), pp. 452-455 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/907756 Accessed: 23-11-2015 17:33 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 137.189.170.231 on Mon, 23 Nov 2015 17:33:59 UTC All use subject to JSTOR Terms and Conditions 452 THE MUSICAL TIMES.-JULY I, 1914. half-centurybefore Purcell-we can see at a glance Cburchanb @roanflMusic., our handicap: Ex. T. Variations on 'eJesus Christus unser Heiland. Var. I. THE COMPLEAT ORGANIST. BY HARVEY GRACE. &C (Continued from June number, . 386.) Mlana. VIII.--OF OLD ENGLISH ORGAN MUSIC. Ped, C.F. Wishing to look up a point connected with English organ music, I recently took down Dr. Walker's 'History of music in England,' feeling sure that so popular an instrument and its composers would be dealt with therein. End of adequately Var. III. The index, however, while referringme to viols, .- " virginals, and lute, was dumb as to the organ, and I search through the volume brought no greater haul ff - than a few passing and disparaging comments on organ music. Reference to the volume of lectures delivered at the Tercentenary of the Worshipful of and under the title Ped Company Musicians, published ---- music me little more. 'English (1604-1904),' brought To The whom were of the practical drawbacks mentioned above must lecturers,among occupants august be added the fact that our been dealt with the the genius had always organ-lofts, pianoforte, water-organ vocal rather than instrumental. The very excellence of the ancients and the of old organ to-day, English of our polyphonic composers' choral-writing was songs, dances, stringand wind instrumentsand their against our instrumental progress. Men who were composers, and operas ; but on the subject of organ giants in vocal music came down with a run to some- music a decent silence was maintained. Even the times less than ordinary stature when composing for lecture on the cathedral composers and their works instruments. The obsession of Handel, with his matchless choral and his instru- contained no reference to their organ technique sketchy compositions. was a blow fromwhich we The one ewe lamb of music was at mental methods, further organ provided have recovered. the lecture on 'Music in in when only recently England 1604,' But because we have produced no Bach or the illustrations was a little amongst played organ Rheinberger we need not therefore unduly belittle prelude by Coperario-a gentleman who, having ourselves. The work of our early organ composers, studied in Italy for a space, ever after so miscalled in spite of the drawbacks under which they laboured, himself, regarding it as an improvementon the rude was oftenastonishingly good. Such men as Gibbons, and Lock were far too to and homely Cooper he was born. And yet between Blow, great be entirely overcome the deficiencies of the instruments of 1604 and 1904 some more than passable English by their day; so that, while we have never had any organ music had been produced, though the most considerable bulk of good native organ music, we have ardent us must admit that patriot among until always had some of which we need not be ashamed. recent years our instrumental output was not on The flame has burned more or less steadily since the same level of excellence as our choral works. the I6th century, flickering ominously at times Our shortcomings in the matter of organ music in (with occasional spurts when a Wesley came on the particularwere due to a variety of circumstances. In scene), but to-day a fire at which we may look with the first place, the instrument bore a much more pride and even more hope. It needs but an increased desire on the of our to warm themselves important part in the Roman and Lutheran services part players thereat for the future to be wholly bright. This than in the English. Then the was pedal organ prejudice against the native composer is of course some three hundred hither from the years arriving not confinedto the organ loft,but it has always been Continent. Add to this the fact of our being about a no less strong there than elsewhere, and this also has century late in adopting equal temperament, and it been against English organ music. Hardly yet is the is easy to understand why English organ music was day past when foran Englishman to compose serious so much behind that of the Continent,-how much organ music is to invite the neglect of his colleagues, will behind can easily be seen by a glance at the works of who cheerfullyspend perspiring,shin-aching hours over a difficult workor a orchestral some of the earlier Italian composers and some of foreign complicated disarrangement. In such doings, however, so far the pre-Bach men in Germany. from being daring innovators,they merely follow the Putting aside Buxtehude as the outstanding figure custom of the 'good old times.' Drifting on a day before Bach came on the scene, there were such into the officeof Walker & Sons, the organ-builders, remarkable men as Scheidt, Froberger, Hanff, I saw hung on the wall the programme of a recital Weckmann, and others, much of whose music is given in the factoryon March 27, 1848, 'at half-past two o'clock to-day almost as vital as that of Bach. When we precisely,' by Thomas Adams. Now Adams, as we all know, was not a fine consider how our Blows and Purcells were writing only player,- was not he known as 'the Thalberg of the for manuals often with an to organ, only, eye harpsichord but a notable composer as well. One might have performanceas well, and then look at these opening expected him to include a fair quantity of real organ and closing bars of a piece of German organ music music in his programme. Here, however, is his writtenby one Franz Tunder, born in 1614-nearly a selection, and it needs but the substitutionof Wagner This content downloaded from 137.189.170.231 on Mon, 23 Nov 2015 17:33:59 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-JULY I, 1914. 453 and Tchaikovskyfor Haydn and Handel, and the as music quite apart fromantiquarian, patriotic, or inclusionof some lightorgan pieces in place of three sentimentalreasons, the historicalside of the seriesis ofthe improvisations, to make it a typicalprogramme too interestingand importantto be passed over. For of certainof ourmodern recitalists: this reason one looks with special curiosity at two Richard PART I. I6th-centurypieces (No. 24). Alwood, the composerof the first, to have been a (The selectedpieces, with the exceptionof the variations, appears from priest-organist,and to have flourishedin the middle Handel.) of the The dates ofhis birthand death i. I6th century. Extemporaneous are unknown. He left,amongst other MS. works, 2. Air,'Lord, ' remember David' 'Redemption.' seven who the 2Chorus, Ye sonsof Israel' .... .... .. 'Joshua.' organ pieces. John Redford, wrote 3.- 'AdesteFideles,' with variations ..A.. Adams. second,is betterknown to us, mainlyby virtueof the '(Air, 'Heart, the seat of soft delight' Ais andGalate famous anthem which some present-dayhistorians Chorus,' 0, thepleasure of the plains ' ' AcisandGalatea. would have us believe was writtenby someone 5.4. Extemporaneous ............ else. Both these pieces are vocal rather than in but in of their 6. 'Withthee, ' Fromthe theunsheltered censer' moor' ' Solomon.' instrumental style, spite antiquity SChorus, theyare not unpleasing,being moreover so dignified PARTII. and devotionalthat they well deserve use forpreludial (Theselected pieces from Haydn. purposes. A notable advance, both in subject and I. SymphonyinE minor treatment,is found in three 17th-centurypieces 2. 'Gracefulconsort' . ... .. 'Creation. (No. I4)-a Voluntary by Orlando Gibbons, a 3. Extemporaneous .. .. Voluntaryfor a double-organ*by Matthew Lock, fAndante ........ 8thgrand Symphony. and a Toccata by John Blow. The Gibbons piece, Finale 5thgrand Symphony. 4. ........ while showing the composer t6 have four voices 'Spring,her lovely charms' .... 'Seasons.' ratherthan a keyboardat the back of his mind, 5 Chorus,'Awake the harp' .. .'Creation.' so and shows so much of 6. Finale....... .. .. Extemporaneous.'hangs together' well, .. Gibbons'spower, that it is wellworthy of performance. In regardto theextemporaneous numbers, I learn It is an ideal in-voluntary. fromthe eldest Miss Walker-an organpupil of Both the Lock and Blow pieces make effectiveuse Goss,and now in hereighty-sixth year-that Adams, of contrasted manuals, and showthe composer to have insteadof practising before a recital,made use of his entirelyshaken offthe choral tradition. The Lock improvisationsforthe purpose of becoming acquainted Voluntary is an interestingattempt at a double fugue. withthe details of the instrument. This explainsthe After a couple of pages, however,both subjects presenceof four such items. disappear,and theremaining two pages deal withnew On behalfof theplayers of thelast generation,it matter. Much the same thinghappens in the Blow shouldbe said thattheir neglect of Englishorgan Toccata, whichsets out withthe apparent intention of musicwas due largelyto the factthat most of the conductingitself as a respectablefugue.
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