The Early Harmonized of the Author(s): S. Royle Shore Source: The Musical Times, Vol. 53, No. 835 (Sep. 1, 1912), pp. 585-588+593 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/907631 Accessed: 04-11-2015 18:07 UTC

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This content downloaded from 132.203.227.62 on Wed, 04 Nov 2015 18:07:16 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-SEPTEMBER I, 1912. 585

Museum, and the Rev. Dr. Jebb's monumental collectionof Choral Uses should have at least put authors upon inquiry. Two partial exceptions, however,have been broughtto the writer'snotice. let the daugh- ters of Ju - dah Mr. John Heywood,in his valuable manual on the 'Art of Chanting'(William Clowes & Sons, Limited, 1893), has a chapteron chants, according to the .-----. e-- ' or early harmonized use, 1552-1645.' In glad, glad, this he sets out in full the threepsalm settingsby Tallis (d. 1585) in five-partharmony, as printedin Barnard. They are harmonizedforms, as regardstwo, of the Ist GregorianPsalm-Tone; and, as regardsthe of the withthe melodiesin the tenor. A _ third, 7th, AI-_ ? _:l -----_ '--I-- footnoteon page 15 refersto the existenceof other chantsof the periodin Dr. Jebb's collection,but does not enlargeon the subject. It was hardlynecessary The diatoniccharacter of the movement is maintainedfor the purposesof the Manual to do this. Mr. Robert untilit mergesinto an animatedconnecting passage Bridges,in twovery interesting articles contributed to in tripletime, which leads to a resumptionof the the'Musical Antiquary'(Henry Frowde) of April, 1911 I, originaltheme of the opening,for some time mostlyand January,I912, which are re-echoedunder the in unisonand witha fullerand richeraccompaniment, heading of' ,Anglican' in therecently-published the strikingtread of the pedal bass being again a 'Prayer Book Dictionary'has also a reference,with featureof great interest. Later, the music softensexamples, to one of the Tallis chantsalready referred down,and a passage low in pitchand in unisonfor all to, and anotherchant by Byrd (d. 1623),also printed voices seems to be couchingfor a spring. It expands by Barnard,but no mentionis made of any other to a fewbars of massivestructure, which culminate in generallyaccessible chantsof the period. an if Amen of fourbars, and bringthe workto an Those who would like to hear thebest that can be impressiveconclusion. said on both sides of the vexed question of the It willbe seen thatexcept so far as the beginningtreatment of the concludingportion of the Anglican and end of the Anthemare related by the use of a chant, could not do betterthan studythe respective theme,there is nothingvery formal in the construction publications of thesetwo well-equippedprotagonists. of the work,and thereare few devices that can be It is onlyon thispoint thatthey are at issue,as both describedas contrapuntal,the music always faithfullyauthors agree in advocatingthe release of the chant and simplyheightening and reflectingthe moods of from its iron-boundrhythm. This, however, is the verbaltext. somewhatof a digression. This ,it may be presumed,will forma Puttingaside thesetwo writers, and takingthe two welcome addition to ecclesiastical music. Its Dictionariesreferred to as representing,as theyfairly elaboratenesscompared with ordinaryanthems is do, thenormal and generallyreceived tradition on the perhaps one of its chiefrecommendations, because subject, the sole fons et orzgo of the Anglican there are not many compositionsof the kind in chant is consideredto be the 'Christ ChurchTune,' modernmusical idiom available for use on importantand one or twoother chants of the same kindas given occasions. Viewedrelatively to much modernmusic by the Rev. John Clifford,at the Restoration,in his the vocal partscannot be said to be difficult,and the 'Brief Directionsof 1663,'as follows: factthat the accompanimentis writtenfor the organ Ex. I. Christ Church Tune according to CLIFFORD, 1663. onlyincreases the possibilityof the utility of thework.

THE EARLY HARMONIZED CHANTS OF THE CHURCH OF ENGLAND. C.F. -85 BY S. ROYLE SHORE. It is surprising,with the which antiquarianenergy In the sense of one of the has been devoted of late to the discovery,part being immediateparents transcription,but, it is feared, very moderate of the Anglicanchant, the traditionis a sound one. publication,of the ecclesiasticalmusic of of On page 7 of his Manual, Mr. Heywood traces England the evolutionof the chant the I6th and theearly part of the 17thcenturies, that gradual throughAldrich no adequate attempthas apparentlybeen made to (d. 171o) and others,and Boyce's collection (1760) to informour minds on the subject of the harmonizedthe present day. The ChristChurch chant is merely psalm and canticlechants whichwere in use in our a harmonizedsetting of the Sarum formof the Ist the cathedraland collegiatechurches during this period. GregorianPsalm-Tone, melodybeing in the tenor The existence of such chants forthe , as a on the well-knownlines of Tallis's Responses. It supplementto the Gregoriantones whichwere taken is more familiarto us in its invertedform, given by over fromthe Latin offices,is sometimesadmitted in Boyce,with a modificationof the third chord from the text-books,musical dictionaries, and the like,but the end,the melodybeing transferred to thetreble : authors know littleabout the or clearly very subject, ExCF. alleged chant according to BOYCE, 1760. at least give no evidence of knowledge. The notable TALLIS'S inadequacyin this respectof the articleson 'Chant' in 'Grove,'and 'Stainerand Barrett'is notatoned for -s- -$ in thenew editionsof eitherof theseimportant works. ______The new edition of the formercontains, however, a reference to the Manual mentioned below. Silence on thepoint is the more remarkablebecause, without any tedious research amongst ancient Following probably*a corrupttradition, this was manuscripts,such well-knownworks as JohnBishop's wronglyassigned by Boyce to Tallis, who ever score of the Barnard(1641) part-booksin the British since has had to endurethe comparativeodium of

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having been the composer of this not very inspiring Ex. 4. The Imperial Tune according to CLIFFORD, 1663. composition. Tallis did in fact compose two chants upon the Ist Tone, as the writer's quotations from and have --n:------Heywood Bridges already shown, but these, I.'----:==-- -e- -ol _-_-=-- as will be seen, are much more creditable creations. To imagine,however, that the Anglican chant had no other predecessors or familyrelationships at home or abroad is to go hopelessly wrong. It will be found to be a in a and cast-iron of one development, rigid shape, The elementaryand simple chant of is of the smaller and much less forms of a Despris only important one of an immense body of chants which in infinite vast of the harmonized chants which were in variety variety have come down to us under the name of use in later and continued in pre-Reformationtimes, 'Faux Bourdons' or 'Falsibordoni,' and are in use to the of the under the regular up silencing in 1645 use to the present day. They are to Great Rebellion. The 'Christ Church tune' is one of usually sung psalms and the in alternation with the the of this. to the full the useful types Recognising unisonal plain-chant. In the vast majority of cases maid-of-all-work which the chant has Anglican the plain-chant has entirely disappeared, and the the writer nevertheless that the become, regrets chant is merely more or less conformableto the laws monotonous character of the form to which it has of modal counterpoint, like the polyphony of the been and certain other quite unnecessarily confined, period. A collection, mainly the composition of characteristics which it would be the beyond scope unknown authors, may be found in the thirdvolume of this article to should be as discuss, accepted of Proske's 'Musica divina.' In a more popular form inevitable. It is the main purpose of this article to a collection of 'XXX. Falsibordoni' of the introduce to the readers of the Musical Times a I6th century,edited by Dr. Haberl forthe Latin Magnificat, fair number of the lineal and collateral ancestors of is easily obtainable through & Hartel. chant in the a Breitkopf the Anglican hope that contemplation The and Mediaeval Music Society of their varied and sometimes and imposing forms, (44, Russell Square, W.C.) have recently published will stir splendid I6th-century harmonization, up a selection adapted for singing to the a of discontent church musicians as English feeling amongst Magnificat, in alternation with the plain-chant. to the state of as unavoidable accepting present things The following example of one in the 4th Mode and and the effortsof the permanent, encourage present in the Society's collection may be of interest writerand others to make them known also to ; inspire in making comparisons withthe English developments the of chants in rather more composition Anglican with which the remainder of and a sequel to this extended and varied forms,at least foroccasional use article will be concerned: by skilled choirs. Ex 5. Author unknown. 16th century. The principle of using harmonized chants for the psalms and is neither specially English, nor _)_ I- is it the product of the Reformation or the English I % type of service. They doubtless date back a century or so into pre-Reformationtimes, but in this country For be-hold, from hence - forth: we have at present no absolute knowledge on the point, of anythingfurther back than 1547, the firstyear of the reign of King Edward VI., two years before the appearance of the firstPrayer Book, so faras the facts are before the writer. The destruction of - . .--,_:------=-_,- appalling 'F---[------F- -8-r - at the dissolution of the Religious __ _F ,.. Houses in 1536-39,by the Genevan zealots at the latter -~ end of King Edward VI.'s reign, and at the Great Rebellion, compel one to speak with reserve as regards all generations shall call me bless - - ed. what did and did not take place in the I6th and the early part of the centuries. From I7th l '. .. . -.- - .-. .. what has been left to us, sound conclusions up to certain points can, of course, be drawn. The which have come down to us in The writer is not in a position to say when the chants England are with the unisonal plain-chant for psalms and canticles first associated names of the following came to be supplemented by harmonized chants composers: Tallis, Parsons (d. I570), anonymous of the and Henrician abroad, but there is on record the followingexample composers Edwardine possibly that wonderful genius, Despres, who died periods, Causton, Knight, Whitbroke, Hooper, by Josquin and in 1521,before Palestrina was born: Tomkins, Portman, Morley, Marson, Byrd, Gibbons. Their musical careers may be considered Ex. 3. JOSQUIN DESPRifs (d. 1521). to extend forabout a century,approximately from 1530 to 1630. The two first-namedcomposers wrote for both the Latin and English Offices of the Church, during the transitional period, 1544 (the year of the S.F. I . a 1 - appearance of the English Litany) and 1559 (the date of the Elizabethan Prayer Book and settlement). Whether the chants associated with their names were It is a harmonized form of the 8th Gregorian originally writtenfor use with the Latin psalms and Psalm-Tone, the melody being in the tenor. Its taken over from the Latin rites with the Gregorian general resemblance to the English prototypeof the plain-chant of the cannot be determined. Christ Church Tune (Ex. I.) of a centuryor more later There exists no earlier copy of the Tallis psalm-chants will at once be noticed, but it is even more like than the manuscript of the Barnard collection, which another English chant of the period, called the bears the date 1625, and belongs to the Royal College 'Imperial Tune,' because that is built upon the same of Music. The bass parts of settings of psalms by Psalm-Tone, though the firstpart or mediation is rather Parsons and others have come down to us in a - freelytreated in the tenor to avoid consecutive fifths: book in the libraryof Lambeth Palace.

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The earliest dated examples may be considered to Ex. 8. 'Tonus Peregrinius,' Sarum Form. be contained in an interesting collection of service _ _ music in some choir books which are assigned to _--F the firstyear of the reign of Edward VI., in King Not unto us, O Lord, not unto us, Name give 1547 (British Museum, Royal Appendix, 74-6). The but unto Thy Name give the praise: part-books are of special value, as they represent - almost the earliest settings of the English Office at known to and consist of of -?-d .~ present exist, compositions for Thy lov - ing mer - cy, and for Thy truth's sake. the psalms, canticles, , and some metrical psalms. They anticipated the first Prayer Book by As the three chants of Tallis before referred to some two years; but there were as a matter of fact must have been composed before 1585, in which year even earlier anticipations,in 1545 and I538. All the the composer died, they are next dealt with. The psalm settings are by unknown composers, and may firstis a setting of the Ist Tone. It should be noted have been taken over from the Latin Psalter. The that some of the progressions are omitted in certain following is from a setting of a well-known psalm, verses when there is a deficiency of syllables. though not the present Prayer Book version,based on This conformitywith the rules of plainsong is very the 7th Tone, which as usual is in the tenor : interesting, as is the conformityin another matter with the provision of a rest for the voices at the Ex. 6. Teja5. ED. VI. (I547). Brit. Mus., Royal App. 74-6. -9-= 4 colon. Most of the settings of the period comply with these rules,unlike the 'Falsibordoni' ---- contemporaneous of the Continent,which agree with the Anglican chant Behold, brethren, how good and joy - ful a thing it is : in slurring syllables together. See Ex. 5, and the Introduction to the 'Manual of Plainsong' above referredto. It should be noted that Tallis has a struggle with a consecutive fifthbetween the second alto and tenor at the third and fourth chords from -g--r the end, which results in a rather ugly doubled third withthe bass. Could he have done any better,seeing that the tenor part was fixed?: to to - dwell ge - ther in un i - ty. Ex. TALLIS from - 9. THOMAS (d. 1585), BARNARD'S Collection, 1641.

? 2zVh------

Even more is a rather fine form of the With my whole heart have I sought Thee: interesting c.F. 'Tonus Peregrinus,' transposed up one fourth. The I conclusion of the first half, or mediation, is particularlystriking: 8- -

Ex. 7. Temp. ED. VI. (I547). Brit. Mus., Royal App. 74-6.

O let me not out of com - mand - ments. Not unto us, O Lord, not un - to us, go wrong Thy

-C.F --._.

The followingchant is also on the Ist Tone, and is the rightTallis, as the Christ Church Tune and Boyce's inversion are not. (d. 1637) is generally considered to be the composer of this 'tune,' which is sometimes called his but un- to Name the by name. It should be noted Thy give praise: that Tallis goes into six parts at the third chord from the end: Ex. io.

. .-- . - I I I I Open Thou mine eyes that I may see:

for Thy loving mer - cy, and for Thy truth's sake.

O turnfrom me shame and ( ) re - buke: from Thy com - mand ments. -

Of these two particular chants the alto and bass - -1 - 1- parts have been lost. The writer has ventured to supply them from conjecture. The Sarum form of the wonder - ous works of Thy , . law. the 'Tonus Peregrinus,' upon which the latter chant is based, is not so generally known as the one which - has become so in chant formfor the popular Anglican ---- for I ---i#-i-have kept Thy tes - ti - monies. psalm 'When Israel came out of Egypt,' so it is for I have kept Thy t'es - ti -monies. here set out from the 'Manual of Plainsong,' * Omitted in all verses but two. t Omitted in some verses. (Novello & Co.): I Thus in Barnard.

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The concluding chant is a truly noble example PEDAL ORGAN. based on the 7th Tone, and one that can well be Feet. Feet. described as a work of The treatment of 22. Sub-Bass 16 24. Bass Flute.. . genius. the 23. Lieblich Bourdon,from Tone should be with that in Ex. 6. The No. 6 6 compared . effectivevariation at the for the 'Gloria,' a favourite device in chants of the which COUPLERS. period, might 25. Greatto well be imitated chant-writersof Pedals. 29. Swellto Choir. by Anglican to-day, 26. Swell to Pedals. 30. SwellSuper-Octave. should be noted, as well as a double suspension, and 27. Choirto Pedals. 31. ChoirUnison to Great. 28. Swellto Great. the composer's disdain of a consecutive octave 32. ChoirSub-Octave to Great. between the treble and the tenor. There was ACCESSORIES. probably a reaction after the successful encounter 3 PneumaticPistons to SwellOrgan. 3 PneumaticPistons to Great with the consecutive fifthin Ex. 9: Organ. Oak case withcarved mouldings, &c. Decoratedfront pipes. Ex. II. , fromBARNARD'S Collection. As recordedin our last issue a recital _____ ------] was recentlygiven -4- __ on the organby Mr. JohnE. West. -T its the I willrun the way of Thy com - mand ments: For comingsession 'bGlasgowSociety of Organists' C.F. has extendedits fieldof membershipto includethe whole of __ Glasgow. The arrangementsfor the meetings of theSociety, -i-i-----o-- whichoccur at the on the first of =-"I,- Athenaeum Saturday every month,include a variedlist of practicaland oesthetictopics for discussion,from the constructionof an organ to the humanityof Bach. The officersof the Society are the - - -q- Rev. George Bell, Mus. Doc. (hon. president),Dr. R. ' I Fox Frew (hon. vice- president), Mr. W. Schofield whenwhe Thou u hast set my heart at lib - IIer - ty. (president),Mr. A. M. (vice- Mr. Mackay president), --9- -- _ Sydney L. Crookes, 66, Sinclair Drive, Langside (hon. I ------_ -- - secretaryand treasurer).

Variatio e Gloria. Mr. W. L. Biggshas recentlycompleted his thirtiethyear - fothe.._n1 S tl_ of officeas organistof St. Peter-le-BaileyChurch, Oxford.

ORGAN RECITALS. Sworld with- out . end. A men. . Amongthe recitalsgiven recentlyat St. George's Hall, Liverpool,during the vacancy of the post of organist,was ol - - ih- -u -$ ' -0 thatof Mr. Reginald Goss Custard,whose chief workwas -: Bach's Preludeand Fugue in A minor. Mr. G. Stephen Evans, English Congregational reference to Mr. Church, A Heywood's 'Manual,' pages Portland Street, Aberystwyth-Romancein D flat, 15-17, will show how Tallis treated these psalm Lemnare. chants in detail. Mr. W. A. Roberts,St. Paul's, PrincesPark, Liverpool- A selection of these chants, adapted to the evening Scenes Pittoresques,Massenet. canticles in alternation with the strict plainchant, Mr. Edward Bartlett, Arundel -Fugue and edited by Mr. Francis Burgess and the present in G, Bach. will be out Novello & writer, shortly brought by Co. Mr. WilfredArlom, N. A. Baptist Church, Adelaide- They have probably not been heard in our Sonata No. I, Guilmant. since the Great Rebellion. Mr. Bryan Warhurst, St. Thomas's Church, Rhyl- In a concluding article the writer hopes to show Finlandia, Sibelius. the treatment and of these chants for development Mr. Charles F. Nidd, First Baptist Church, Calgary, Psalms and Canticles by Causton, Whitbroke,Knight, Alberta-FirstSonata da Camera,A. L. Peace. Holmes, Hooper, Byrd, Gibbons, and perhaps others Mr. William H. Collins, and Marson and organist choirmaster, (e.g., Morley). St. Mary's Church, Chiddingstone-Sonata No. 2, Mendelssohn. A three-manualchamber organwas builtrecently by Mr. Mr. Frank Proudman,Town Hall, Durban-Intermezzo, Richard Heslop for Mr. F. S. Wykes, at The Mount, Hollins. It has Limpsfield,Surrey. tubular-pneumaticaction Mr. W. WilsonFoster, St. NicholasChurch, throughout,and with feedersand Whitehaven- hydraulicblowing, special Fantasia-Overturein D minor,C. B. Rootham. hydraulicengine by Watkins& Watsonin the basement. The followingis the specification. Mr. FrederickJ. Parsons,Ventnor Parish Church-Concerto in D minor, Friedmann Bach. Manual compass, CC to A (58 notes). Mr. F. Gostelow,St. John'sChurch, Lowestoft-Toccata Pedals, CCC to F (3o notes). Pedal-boardradiating and concave. and Fugue in D minor,Bach. Detachedconsole in oak case. Mr. George H. Rees, Royal Arcade, Boscombe--Prelude GREAT ORGAN. and Fugue in C minor-Bach. Feet Feet Mr. George Tootell, Wesleyan Church,Keswick-Theme I. Open Diapason 8 4. Harmonic Flute . . . 4 withVariations, Hesse. 2. Salicional ...... 8 5. Principal .. .. . 4 3. Wald Flute... . 8 Mr. A. T. Akeroyd,St. Margaret'sChurch, Ilkley-Chorale SWELL ORGAN. Preludeon 'St. Ann's,' Parry. 6. Double Diapason .. 16 ii. Gemshorn .. . Mr. G. Stephen Evans, English Congregational .. 4 Church, 7. Violin Diapason 8 12. Fifteenth ...... 2 Portland 8. Flute .. .. Street, Aberystwyth-Fantasiain D minor, Rshr .... . 8 i 13.Cornopean 8 Merkel. 9. Viol d'Amour 8 i4. Oboe . 8 ...... zo. Viox Celestes 8 I5. Vox Humana, Tremulant 8 Mr. W. J. Comley, Church of St. Mary the Virgin, . Brancaster-Overturein C, CHOIR ORGAN (separate swell-box). Hollins. Mr. Albert Orton,Walton Parish Church-Andante 16. Dulciana ...... 8 i9. Flute .. .. . 4 in D, 17. Viol d'Orchestre .. . 8 20. Piccolo ...... 2 Silas. i8. Lieblich Gedacht .. .. 8 21. Clarinet ...... 8 (Continued on page 593.)

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(Concludedfrom Page 588.) visitors,there was no desireto excludeforeign music. As a Mr. ArthurClements, United Methodist Church, Bridgwater matter of fact nineteenforeign composers were represented -Prelude and Fugue in C minor,S. Wesley. by twentypieces. The read in the various are moreor Dr. T. St. Newton in papers sections given Keighley, Mary's, Moor-Melody less are in English(eight of which are by B flatand Toccata in D Mfax fully. Twenty-five minor, Reger. foreigners),eighteen in French,twenty-two in German,and Mr. HerbertHodge, All Saints' ParishChurch, Birchington three in Italian. One of the mostuseful features of thebook -Fantasia on 'Ein' festeBurg,' Karg-Elert. is theabstract, in English,of all the papers. As we statedin thewhole volume has been Dr. Roberts,Rehoboth, C. M. Church, July, ablyedited for the Congress Caradog Prestatyn--committee Dr. Charles who is the FuneralMarch and Hymnof Seraphs, by Maclean, honorary Guilmant. co-secretaryfor the Britishsection and the honorary secretary Mr. Allan Brown,Crystal Palace-Overture in C, Hollins. forthe full Society. The taskwas a remarkablylaborious one, Dr. A. W. Pollitt,Parish Church, Tibberton, Glos-Sonata entailingas itdid numerouscommunications with contributors No. 6, in E minor,Aferkel. spreadover the world. As thecontents of thevolume become familiar, will no doubt some usefuldiscussion. Mr. C. E. Central Halifax they provoke BlytonDobson, Mission, Place, We have alreadyprinted some of the papers in the Musical Nottingham-Fantasiaand Fugue in A minor,Bach. Times, and we hope to be able to arrangefor others of Mr. Claude A. Forster,Parish Church, Gorleston--Fantasia interest to appear shortly. in E minor,Mferkel. Dr. R. Fox Frew, Govan Parish Church-Sonata No. 7, Rheinberger. Catalogue of the printed music in the British M useum (1487-I8oo). Two vols. By W. BarclaySquire. Mr. Edgar A. Miller,Green's Norton Church-Intermezzo, orderof the HIollins. [Printedby Trustees.] Dr. T. H. Collinson,St. , The publicationof thiscatalogue will be a great boon to Mary's Edinburgh-- studentsof as it will save Sonata in A minor,Rheinberger. many musicalhistory, them the annoyanceof havingto waste a large part of theirtime in the Libraryin studyingthe general catalogue. Moreover, Mr. has not the matter. APPOINTMENTS. Squire simplyreproduced existing The (by Mr. G. K. Fortescue)states that 'each Mr. William H. Collins, organist and choirmaster,volume or piece has been examined,and in the majorityof St. Mary's Church,Chiddingstone. instances re-catalogued,while in the case of rare and Mr. T. music-masterand St. Anne's valuable works,the descriptionshave been more fullyand Sydney Cox, organist, set forth.' In the date of a Schools, Redhill, accurately determining printing, Surrey. difficultywas caused in manycases by the customthat long Mr. W. H. Glanville, choirmaster,Broadwater Parish prevailed among music publishersin Great Britain of Church,Worthing. omittingto put the date on record. The two volumes Mr. W. Meacham and choirmasterof of the catalogue contain no fewer than 1,529 pages, Haley, organist with on each are a Christ Church, South Hackney. two columns page. They monument of labour and The resultdoes Mr. A. extraordinary painstaking. Holroyd,organist, George A. Clark Town Hall, notsubmit easily to a reviewer'sanalysis, but some interesting Paisley. pointscome to light. The musicof Bach barelyoccupies a Mr. R. H. Pack, organistand choirmaster,St. Michael's column,while that of ' Hoendel' occupiesnearly forty. The Church,Millbrooke. catalogue of Dibdin's stage-worksand songs is given in twenty-fivecolumns, and manyqueer titlesthe listof lyrics contains. Beethovenhas one entry,consisting of a volume of threesonatas. Thereare somesectional headings such as Eevtewz. Psalms, the list of which covers fiftypages. Writerson topicsconnected with old musicwill doubtlessfind a helpfil stimulusin thiswork. Reportof the Fourth Congressof theInternational Muisical Society,London, lVMay 29-June 3, 1911. Pp. 432. CHORAL MUSIC. [Novello & Co., Ltd.] The WanderingJew. For baritone solo, chorus, and In ourJuly issue (p. 446) we gave a rdsumdof thecontents orchestra. By FriedrichHegar. of this substantial which volume, has now been published. For alto solo, male chorus, and orchestra. A of its of and Rhapsody. cursory perusal reports meetings papers By JohannesBrahms. read, and the programmesof the numerousfunctions & in which music figured,provokes a feeling of wonder [Novello Co., Ltd.] thatso muchwas successfullycrowded into one memorable 'The WanderingJew' is an English edition, with a week. The Report gives a list of all the members translation Paul of a cantata of the by England, originally general-committeeand sub-committees,numbering published in Germany under the title of 'Ahasvers nearly three hundred persons,seventeen delegates from Erwachen.' The poem,if uneventful,is eminentlysuitable foreignGovernments, delegates from foreigninstitutions, for, and of, musicaltreatment. In the the suggestive opening ninevice-presidents (all foreigners),and all the foreignthe spiritsof the mountainsand the forestssummon peace visitors. The earlyhistory of the arrangementsfor the event forthe slumbersof Ahasver, the WanderingJew. Waking, are epitomized,and the reportof the opening ceremony,he thanksthem, and welcomesthe premonitionof his coming at whichthe RightHon. A. J. Balfour,M.P., the President death and release,and the spiritsstill offerhim solace and of the Congress,spoke withso much ability,is a full one. comfort. But his remorse overtakeshim, and the The text of again addresses sent by two Moscow Societies is ' eyesof his Saviourpursue him for aye,' and goad himon. given. There are numerous evidences in the volume he is and the him with the that Again wandering, spiritsspeed the event excited worldwide interest. The pro- words: 'The songs we have sung to thee, long maythey grammesare given in full, with the numerouslearned lingerin thysoul. In manya nightof anguishmay'st thou annotationsthat appeared in the books that were used on feelon browsthe breathof the snow-clad the thyburning cooling occasions. It is erroneouslysupposed in some quarters mountainson mem'ry'spinions wafted!' thatforeign music was barred in accordancewith a fixed There is abundantcontrast of mood here. Those who policy of the committee; but the fact was that the know his 'Phantom Host' and committee only Hegar by 'Walpurga' decided that while a very comprehensivewill recognisethe stamp of his individualityin the more view of Britishmusical art from its earliestmanifestation to sectionsand in the momentsof calm will make the works of rugged living composersshould be placed before acquaintancewith his giftof smoothmelodic writing. A

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