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Scottish Church Music Its Composers and Sources (1891)

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Scottish Church Music V///,•'>';/.'// -r'-'/f'/fm CORNELL UNIVERSITY LIBRARY FROM The Carnegie Corporation wnsic Cornell University Library ML 3186.L89 Scottish church music its composers anc 3 1924 022 338 754 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022338754 SCOTTISH CHUECH MUSIC Scottish Church Music ITS COMPOSEES AND SOUECES JAMES LOVE WILLIAM BLACKWOOD AND SOKS BDINBUEaH AND LONDON MDCCOXCI : : ; • ; PEEFACE. In this book will be found an account of the source and history —so far as is known to me—of upwards of One Thousand Psalm and Hymn Tunes; Theee Hundred Chants, Dox- OLOGIES, AND SCEIPTURE SENTENCES OE AnTHEMS, — being those contained in the following works : — ' The United Presbyterian Hymnal, with Accompanying Tunes,' 1877; 'The United Presbyterian Psalter, with Accompanying Tunes,' 1878; ' The Presbyterian Hymnal Scripture Sentences and Chants,' 1886, —-all published by the authority of the Synod of the United Presbyterian Church ' The Free Church Hymn Book, with Tunes,' 1882 ' The Scottish Psalter, . with Appropriate Tunes and Chants,' 1883, —^both published by authority of the General Assembly of the Free Church of Scotland ' The Scottish Hymnal (Appendix Incorporated), with Tunes, for Use in Churches,' 1885 vi PREFACE. 'The Book of Psalms and Paraphrases (in Metre), with Tunes, for Use in Churches,' 1886, —both published by authority of the General Assembly of the Church of Scotland. There are also about Five Hundred Biographical Notices OF THE Composers, and an Appendix containing some par- ticulars REGARDING THE PRINCIPAL COLLECTIONS OF PSALM- ODY ISSUED IN SCOTLAND SINCE 1700. A deep interest in the Biography of our psalm and hymn tune writers, and the tracing of our Church music to its original sources, led me, during my spare moments within the last ten years, to compile this work. I was also actuated by the idea that, as a leader of Praise, I ought to have some knowledge of the sources of our Church music, and of the leading facts of the composers' lives. To publish the results of my investigations was not my intention, as I lay no claim to literary ability ; but it was pointed out to me that a work of this kind had never been issued in Scotland, although much had been written regarding hymns and their writers : and it is a fact well known to all experts, that Scottish Psalmodies have been notoriously untrustworthy as regards the source and authorship of their contents. The apparent inclination of edi- tors to accept current testimony without question, has led to much confusion, and it is not uncommon to find tunes assigned to composers who were not born when the tunes were pub- lished, and composers bearing the same surnames hopelessly mixed. Though I make no claim to rank with those whose researches have disclosed facts of paramount national import- ance, I may surely claim to have approached a subject on which a great deal of uncertainty exists, and I am persuaded that additional light will be acceptable. To those who know anything of the subject, it will, I hope, be evident that con- siderable trouble has been taken to ensure accuracy regarding PREFACE. vii dates and facts, but it would be idle to suppose that errors have not crept into the work; these I shall be glad to have pointed out to me. In the compilation of the work, I have had much valuable assistance and many kind suggestions from the following gentle- men, to whom I accord my warmest thanks: J. O. Anderson, Esq., Edinburgh; John Montgomerie Bell, Esq., W.S., Edin- burgh; William Carnie, Esq., Aberdeen; Major George Arthur Crawford, Sevenoaks, Kent ; John Spencer Curwen, Esq., Lon- don ; F. G. Edwards, Esq., London ; J. Cuthbert Hadden, Esq., Edinburgh; Walter Hately, Esq., Edinburgh; Rev. Dr Andrew Henderson, Paisley ; Hubert P. Main, Esq., New York ; Eev. Dr Andrew Melville, Glasgow ; Eev. Henry Parr, Vicar of Yox- ford, Suffolk; Ebenezer Prout, Esq., B.A., London; Gregg Wilson, Esq., B.D., Falkirk. Nor can I forget the many kindnesses shown me by the late John Dobson, Esq., of Richmond, Surrey, whose great know- ledge of the subject was the means of settling many doubtful points. I have also to acknowledge the help given to me by the Librarians of the British Museum, London ; Euing Library, Glasgow ; Advocates' and Signet Libraries, Edinburgh. In a special measure I have to thank my friend Miss C. L. Gair, The Kilns, Falkirk, for much valuable aid, generously extended to me during the years I have been engaged on this work. That the book may be of use to all who are interested in Church music is my earnest wish. JAMES LOVE. Aenothill Gardens, Falkirk, May 1891. CONTENTS. ALPHABETICAL INDEX OF TUNES, WITH THEIR NUMBERS, COMPOSERS OR SOURCES, .... 1 ALPHABETICAL INDEX OP COMPOSERS WHOSE CHANTS APPEAR IN THE U.P.H., U.P.P., S.H., S.P., AND E.C.H., WITH THEIR NUMBERS, ... ... 43 DOXOLOGIES IN U.P.H., . .46 ALPHABETICAL INDEX OP SCRIPTURE SENTENCES IN FREE CHURCH HYMNAL, AND UNITED PRESBYTERIAN HYMNAL, WITH THEIR NUMBERS, COMPOSERS OR SOURCES, . 47 BIOGRAPHICAL SKETCHES OP COMPOSERS, WITH NOTES AND ILLUSTRATIVE EXAMPLES, . .55 APPENDIX, CONTAINING A LIST OF THE PRINCIPAL COLLEC- TIONS OF PSALMODY ISSUED IN SCOTLAND FROM THE YEAR 1700 TO THE PRESENT TIME, . 313 . ABBREVIATIONS. Mus. Bac, Bacheloe op Music. Mus. Doc, DooTOB OF Music. Ph. Doc, . Doctor of Philosophy. ( United Pkesbttbbian Hymnal; with acoompanyinq U.P.H., . \ Tunes, pubUshed 1877. ( The Pbesbytebian Hymnal Scbiptube Sentences and U.P.H., . I Chants, published I886.1 ( United Presbyterian Psameb, with accompanying U.P.P., . ( Tunes, published 1878. F.C.H., Feee Chdbch Hymnal, with Tunes, published 1882. Scottish Psaltee, with Tunes and Chants, published S.P., f { 1883. S.H., Scottish Hymnal, with Tunes, published 1885. P. & P., . Psalms and Pabaphbases, with Tunes, published 1886. S.S., . ScEiPTUEE Sentence (Anthem). 1 The lirst twenty-four Scripture Sentences in this work also appear in the United Presbyterian Hymnal of 1877, under corresponding numbers. ADDITIONS AND COEEECTIONS. Beemnek, Robert, p. 83—for additional matter regarding the tune "St Paul," see James Chalmers in Appendix, page 318. Case, B., p. 92,/o?- "London, 1872," rmd "London, 1827." Clakk, Jeremiah, p. 95, 1. 6, /or "1708," read, "1709." Deaelb, Edward, Mus. Doc, p. Ill, add, that he died April 1891. Henderson, Rev. Dr Andrew, p. 168, add. Elected Moderator of the United Presbyterian Synod, May 4, 1891. Oakelet, Sir Herbert Stanley, Mus. Doc, p. 222, add, that he received from the University of Edinburgh the degree of LL.D., together with the title of "Emeritus" Professor of Music, on his retirement from that Chair of Music in 1891. SCOTTISH CHUECH MUSIC. ALPHABETICAL INDEX OE TUNES, WITH THEIE JSrUMBERS, COMPOSEES OE SOURCES. Tunes. SCOTTISH CHUKCH MUSIC. TUHES. INDEX TO TUNES; TUKES. SCOTTISH CHUECH MUSIC. Tunes. INDEX TO TUNES. TnsES. Numbers. Composers or Sources. Blackburn . 10 U.P.P. Ascribed to J. Fish. Blenheim . 52 P. & P. John Arnold's Compleat Psalmodist, 1749. Bloxham . 39 S.P. Aaron Williams's Psalmody in Miniature, 1778. Bohemia . 185 TT.P.H., 10 S.H. German. Bohemia . 256 F.C.H. German. Bon Accord 221 P. & P., 40 S.P. Scottish Psalter, 1635. (Aberdeen) Bonar 136 F.C.H. Charles Steggall, Mus. Doc. Bonn . 329 TJ.P.H. Johann Eosenmiiller, oi. 1686. Borlan . 65 S.H., 231 F.C.H. Dr Conrad Kocher's Zions- harfe. Boston . 276 U.P.H., 11 F.C.H. Arranged by Lowell Mason, Mus. Doc, 1792-1872. Boswell . 95 U.P.P. Adapted from Christoph Wil- libald Eitter von Gluck, 1714-1787. Bowden . 181 P. & P. Dr Samuel Sebastian "Wes- ley's European Psalmist, 1872. Bowdler . 404 S.H. CyrU Bowdler, Mus. Bac. Boylston 188 S.P., 75 U.P.P., Lowell Mason, Mus. Doc, 140 & 342 F.C.H. 1792-1872. Bozrah . 56 U.P.H. Cornelius Heinrich Dretzell's Choralbuoh, 1731. Brandenburg 364 U. P. H. German. Braun 227S.H. Johann Georg Braun's Echo Hyranodise Coelestis, 1675. Braylesford . 215 U.P.H. Henry John Gauntlett, Mus. Doc, 1805-1876. Gauntlett, Bredon . 43 U.P.P., 104 & 258 Henry John Mus. U.P.H. Doc, 1805-1876. Vulpius. Bremen . 197 F.C.H., 85, 118, Melchior & 337 S.H. Clauder's Psalmodia Breslau . 39, 88, & 168 U.P.H., Joseph 184, 332 S.H., 6 Sacra, Leipzig, 1630. F.C.H., 71 U.P.P., 4 P. & P. Jamieson, Brierley . 64 S.H. Augustus Grant 1844-1888. Brighton 41 S.P. Lowell Mason, Mus. Doc, 1792-1872. Ravenscroft's Psalter, Bristol . 42 S.P., 53 P. & P., Thomas 60 U.P.P. 1621. Broadlands 172U.P.H.,209P.&P. CanticLues Sacrez, &o., Cassel, 1740. Brockham 337 F.C.H. Jeremiah Clark, 1670-1707. German. Briinn . 171 S.H., 182 P. &P. .. SCOTTISH CHUECH MUSIC. Tunes. COMPOSEES OR SOCROES. Bucer 211 & 243 S.H., 183 From Robert Alexander Schu- P. & P., 140 F.C.H. mann, Ph. Doc, 1810- 1856 (?). Bnckland 415 S.H. Eev. Leighton George Hayne, Mus. Doe., 1836-1883. Bunyan . 43 S.P., 72 S.H., 68 From Felix Mendelssohn F.C.H. Bartholdy, Ph. Doc, 1809- 1847. Burford . 44 S.P., 54 P. & P., Henry Purcell, 1658-1695 (?). 14 U.P.P. Caerleon 72 & 240 U.P.H. Henry John Gauntlett, Mus. Doc, 1805-1876. Caithness 219 & 318 S.H., 45 Scottish Psalter, 1635. S.P., 121 U.P.P., 55 P. &P. Cains College . 112 U.P.H. Henry John Gauntlett, Mus. Doc, 1805-1876. CaUcott . 40 S.H.
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    University of Massachusetts Amherst ScholarWorks@UMass Amherst Music & Dance Department Faculty Publication Music & Dance Series 2005 John Travers: 18 Canzonets for Two and Three Voices (1746) Emanuel Rubin University of Massachusetts - Amherst Follow this and additional works at: https://scholarworks.umass.edu/music_faculty_pubs Part of the Music Commons Recommended Citation Rubin, Emanuel, "John Travers: 18 Canzonets for Two and Three Voices (1746)" (2005). Music & Dance Department Faculty Publication Series. 3. Retrieved from https://scholarworks.umass.edu/music_faculty_pubs/3 This Article is brought to you for free and open access by the Music & Dance at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Music & Dance Department Faculty Publication Series by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. John Travers’ Canzonets and their Georgian Context Emanuel Rubin, University of Massachusetts As the Baroque drew to a close, England’s native composers, outmaneuvered by foreigners who dominated the opera and concert stage, found a voice of their own by tapping into the rich tradition of Elizabethan and Restoration part song. John Travers’ delightful collection of canzonets for two and three voices with continuo is typical of this neglected body of music, and it should disabuse musicians once and for all of the canard that there was “no English music after Purcell.” At the historical moment when abstract instrumental music was taking continental Europe by storm, the English, with their long-standing admiration of poetry and song, devoted their energy to cultivation of cleverly wrought part songs for highly skilled amateur singers. In that “Silver Age” of British poetry, lyrics by Addison, Chatterton, Johnson, MacPherson, Pope, Prior, Ramsay, Shenstone, and Smollett were lovingly set as witty canzonets, sentimental glees, and rowdy catches in a flowering of vocal ensemble compositions unmatched anywhere else.
  • Style in the Music of Arthur Sullivan: an Investigation

    Style in the Music of Arthur Sullivan: an Investigation

    Open Research Online The Open University’s repository of research publications and other research outputs Style in the Music of Arthur Sullivan: An Investigation Thesis How to cite: Strachan, Martyn Paul Lambert (2018). Style in the Music of Arthur Sullivan: An Investigation. PhD thesis The Open University. For guidance on citations see FAQs. c 2017 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000e13e Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk STYLE IN THE MUSIC OF ARTHUR SULLIVAN: AN INVESTIGATION BY Martyn Paul Lambert Strachan MA (Music, St Andrews University, 1983) ALCM (Piano, 1979) Submitted 30th September 2017 for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences Open University 1 Abstract ABSTRACT Style in the Music of Arthur Sullivan: An Investigation Martyn Strachan This thesis examines Sullivan’s output of music in all genres and assesses the place of musical style within them. Of interest is the case of the comic operas where the composer uses parody and allusion to create a persuasive counterpart to the libretto. The thesis attempts to place Sullivan in the context of his time, the conditions under which he worked and to give due weight to the fact that economic necessity often required him to meet the demands of the market.
  • Musical Networks in Early Victorian Manchester R M Johnson Phd 2020

    Musical Networks in Early Victorian Manchester R M Johnson Phd 2020

    Musical Networks in Early Victorian Manchester R M Johnson PhD 2020 Musical Networks in Early Victorian Manchester RACHEL MARGARET JOHNSON A thesis submitted in partial fulfilment of the requirements of Manchester Metropolitan University for the degree of Doctor of Philosophy Awarded for a Collaborative Programme of Research at the Royal Northern College of Music by Manchester Metropolitan University 2020 Abstract My dissertation demonstrates how a new and distinctive musical culture developed in the industrialising society of early Victorian Manchester. It challenges a number of existing narratives relating to the history of music in nineteenth-century Britain, and has implications for the way we understand the place of music in other industrial societies and cities. The project is located at the nexus between musicology, cultural history and social history, and draws upon ideas current in urban studies, ethnomusicology and anthropology. Contrary to the oft-repeated claim that it was Charles Hallé who ‘brought music to Manchester’ when he arrived in 1848, my archival research reveals a vast quantity and variety of music-making and consumption in Manchester in the 1830s and 1840s. The interconnectedness of the many strands of this musical culture is inescapable, and it results in my adoption of ‘networks’ as an organising principle. Tracing how the networks were formed, developed and intertwined reveals just how embedded music was in the region’s social and civic life. Ultimately, music emerges as an agent of particular power in the negotiation and transformation of the concerns inherent within the new industrial city. The dissertation is structured as a series of interconnected case studies, exploring areas as diverse as the music profession, glee and catch clubs, the Hargreaves Choral Society’s programme notes, Mechanics’ Institutions and the early Victorian public music lecture.