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A History of the Choir and Music of Trinity Church, New York

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A History of the Choir and Music of Trinity Church, New York This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com . iii A." . 1 . .4331: . 7|. I .ln' .u :l ¢ Q, V - a A ‘ ll , givizf.‘ I . U . .Cnirlvla? ill-Ill!£~2¥ut$‘.1‘ivr{£.fiim&fi q. ‘14..» a .l‘ THE UNIVERSITY OF ILLINOIS LIBRARY 183.8 msgh The person charging this material is re sponsible for its return on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. UNIVERSITY OF ILLINOIS lIBRARY AT URBANA~CHAMPAIGN ltllll 2:3 I 1 MAY 1 7 u, l L161— 0-1096 ._ ii 1' i~__—-- — THE HBBABY 0F iliE UNIVERSITY 0f ILLINOIS Q \etk 3§\w Swahiiufi A.“ .Qukixb Ksstk \w A523 33 ,ommfi .5530“ .HJ=Z<>U Jana/44 i 1' ('1'! '4';'l. I.‘l '4 '1/1‘l'r.byI" [\‘I‘1 In " . In| __ ~I__ El mistorg of the Glboir an‘o fifmsii: of (Trinity Ghurcb, ilievo lQorh from its ®rgani3ation, to the pear 1897 1332 { El. x 0“» ii). e, +(‘\ (HM \ 921R! _ _ . Mus. Doc. (Hnnanbale) Qrganlat anb Chairman: of trinity Qburcb, \866—1897 new work Ebwin S. Gotham, publisher 251 fourth avenue 1906 Corvmcn'r, 1906, BY A. H. MESSITER Eb: Crow Dress, flow not! r1 L5 171;: k; ‘5?"ZOWGK. M‘iéh Debicateb to the mast Members of tbe (Ibotr 0t (trinity Gbutcb, new work F/Ischer 5/\/a7Mus/c20Z,50 5&0 719 WWW/ “WW 9?le KW WWW/W I W417”va *4 $4”? 3/7 94947 WW 8”"! 1" ivq ’“W/ W 719% WM #4747 “PM?” 971”! 4*” “ac/11W", "WW/fly 7377 W Jrn/rz/W/ $37 "7W@7:j7/4. Wis/477w 7’41’714”? W W? .v £13777) "’7'? :p ’2' I ,7.’ 4?”. lewjrwmgmz rfWMQ’YT "72/777 W97quwwv.w_7$ J'W'yy 4177/ ' ’rnv "wa 11'”an "anew/y? 32%»?! "(W W Jim), “’1wa “WW” “7’1"” 3’ £1”me “’v "1”"? ’47? "if M5513 WWW '4wa 4%; J} 95%;” flew WWI/Z”! 5 >6 {Wijg/g ’Q/YW/.VW/-0 Wm” anmw /"’»’4.///°514Z¢59 "7* )7” WWW“? “raw/7 "a! 1471’”? “’7 WW 3 WW W”? Mywr 62m W hm 4W! wwww a M Wm 07/,” "W"? "W 4W1 W$1WW '77 ‘1 57°??"% WWW? ’74»? @5377” ‘4" 1% 7W vari'v "’5; 1’ '7 vw/ "1949-97? ’mf'fifl’ a”? PREFACE HIS History of Trinity Church Music had its rise in a suggestion by the editor of The Trinity Church Record that I should furnish for that paper some reminis cences of my experiences at Trinity Church. In accord ance with this suggestion a series of articles was written by me and printed in the Record; these contained a full account of the music at Trinity Church for about fifteen years, from 1866, and are included in the present book. It afterwards seemed to me desirable to expand these articles into a full history of Trinity Church music, as complete as possible, from the establishment of the Par ish. With this view I made researches, occupying several months, into the early history of the Parish and city, and completed the record of my own musical administration up to the date of my retirement in'1897. Among the documents consulted and examined were: Dr. Hodges’ MS. Records. Dr. Cutler’s MS. Records. Extracts from Minutes of the Vestry for a limited period. “ History of Trinity Church,” by the Rev. Dr. Berrian. Collection of newspaper paragraphs relating to Trinity Church, in possession of the Historical Society. “ A Two Years’ Journal in New York,” by Rev. C. Wolley. “ Churches of New York,” by Disosway. Histories of New York City. Stone, Wilson, etc. Ritter: “ History of American Music.” Eta, etc. VII viii PREFACE Dr. Edward Hodges left thirty folio volumes of closely written details of his daily musical life. As they contain much matter of a personal nature, I was not permitted to examine them, but his son, the Rev. J. S. B. Hodges, D.D., of Baltimore, very kindly read to me everything relating to my subject, and I wrote out such extracts then and there. Dr. Cutler gave me the unrestricted use of his pri vate records; two or three small volumes, containing prO— grammes of services, criticism, etc. These were also of great value. The Rev. Dr. Dix kindly lent me some extracts from the Vestry Minutes, made for the purpose of his own his tory of the Parish; these covered only a limited period up to 1797. I am also indebted to several veterans of the earlier choirs, notably Mr. A. G. Wood and Mr. J. Outcalt, for interesting details. The development of Church music in the older coun tries has been the work of centuries; we move fast here, and, aided by their experience, have advanced from the crudest beginnings to the highest achievements in about fifty years. My imperfect picture of such development will, it is hoped, prove interesting not only to those who have taken part in the services herein described, but also to Church musicians and Church members generally. This book is published now by former members of Trinity Church Choir who look back with pleasure to their participation in the music of the Church, and retain their kind regard for the old choirmaster. To them it is gratefully and respectfully dedicated. A. H. MESSITER. OCTOBER, 1906. TABLE OF CONTENTS PAGE PREFACE . vii INTRODUCTORY HISTORY . I WILLIAM TUCKEY . 19 DR. HODGES . 39 Consecration of Trinity Church . 44 DR. CUTLER . 72 DR. MESSITER . 114 Introduction of Orchestra, 1870 . I35 Centennial Celebration, I876 . I67 Twenty-fifth Anniversary of Dr. Messiter, 189! . 25o Bicentennial of Trinity Parish, I897 . 277 APPENDIX A—NIGHT SERVICES . 289 APPENDIX B—ORGANS IN TRINITY CHURCH . 290 APPENDIX C—LIST OF CHOIR MEMBERS . 310 APPENDIX D—LIST 0F COMPOSERS . 318 APPENDIX E—CHRONOLOGY OF DEVELOPMENTS IN SERVICE . 32I LIST OF PORTRAITS TI-IREE Bovs, 1859 . Franlzkpiece Robjohn, Maeder, Gamble. FACING PAGE DR. HODGEs . 40 DR. CUTLER . 72 MR. DILLER . 112 MR. BOWMAN . 114 DR. MEssrrER . 120 MR. JOHN P. MORGAN. 126 FIVE Bovs, I865-I877 . I44 Knapp, Livingston, Pickslay, B. Coombe, V. Baier. MR. CARTER . I50 MR. LUCY-BARNES . I88 FIVE Bovs, 1876—1882 . 192 Case, W. R. Hedden, Fruttchey, Von der Heide, Reilly. MR. THURSCH . 196 MR. BAIER . 216 FIVE BOYS, 1888—189I . '. 240 Old, Belling. Simpson. E. Knapp, H. Knapp. INTRODUCTORY I T is due to the providential establishment and endow ment of the Parish of Trinity, two hundred years ago, in the face of opposition, that the Episcopal Church occupies so strong a position, without aid or countenance now from the State, relying only upon itself and its Catholic descent. The City of New York is its strong hold, and the fourscore or more of Parishes are the chil dren of Trinity, which has freely dispensed its resources to found, endow, and support all of the older organiza tions, from which the later ones have in turn sprung. It is due to the support and influence of Trinity Parish, directed by liberal and enlightened Rectors and Vestries, that Church music in its best form has been cultivated to such an extent, has developed so rapidly, and spread over the whole country, from East to West. In Church music Trinity Church has been the pioneer; in early days Trin ity Church was the model, in later times the various Churches of the Parish are the models followed from Maine to California. The history of Trinity Church music covers the history of Church music throughout the country. ' ~ In attempting to draw up a complete account of its gradual progress from the era of the parish clerk and pitch pipe, one is met by the difficulty that no records were kept on this subject before 1840, and that very little infor mation can be gathered from outside sources. The busi I 2 TRINITY CHURCH, NEw YORK ness records of the Corporation give some hints, mostly of a financial character; and Dr. Berrian’s history has a few allusions, here and there, to musical matters. In the last century little could be done for the advancement of music—more important matters occupied men’s thoughts; and it is not surprising that the elementary achievements of that period were not thought to be worth recording. In the late Professor Ritter’s history of “Music in America ” (Boston, 1883), over one fourth of the volume is devoted to the history of the Puritan Psalmody of New England. 'Having exhausted that subject, the au thor gives less than one page to Church music in New York, the Presbyterian and Dutch Reformed Churches having the precedence. Eleven lines are devoted to “ Old Trinity," of which he says: “The Episcopalian service, as performed in England, was kept up with the best means possible. It seems even probable that Trinity Church possessed the first organ in America.” (He was mistaken on the last point, although Trinity Church possessed the first Church organ made in this country.—See Appendix B, page 290.) The important event of a performance of Handel’s “ Messiah ” in this Church is mentioned, and a footnote adds that “ Trinity Church has always had much influence on the cultivation of Church music in New York,” and gives names of some of the organists. So little importance was attached by the historian of I880 to the English school of Church music and its intro duction in this country, although its influence and pre dominance generally had been plainly evident for half a century before the professor wrote his history.
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