A In the following diagram, the fifth, in consequence of receiving a modification by a swell of the voice in its descent, produces an impression on the verb " is," which seals it with positiveness, and clothes it with wonder and surprise. The passage is extracted from "Hamlet," and represents a portion of the interview between the latter and his profligate mother, who endeavors to pursuade him it is unnatural and unnecessary to mourn so long and deeply for a deceased father,—at least that it seems so : it is ! I know not seems. Seems, madam; nay, In the verb "seems" there is conveyed a question. The sense appears to be, "does it seem;" -the intonation expressive of such a construction, is shown in the upward concrete third, on the commencing verb. The Prince quickly changes the doubt expressed in the question, to the positive assurance, that his grief is real, in the certainty contained in the application of the downward fifth on the verb "is." We have already observed, that a swell of the voice in its descent engrafts upon the original characteristic of the downward concrete, the feeling of surprise. Now this is exactly the supposed condition of Hamlet; astonishment, in the first place, that his grief seems, and positive assurance, (mingled with wonder, at the previous doubt,) that it " is." The descending radical change of the fifth, we now illustrate, by a diagram from Marc Antony's oration over the body of Cæsar : "But Bru-tus says, he was am bitious." We take "Brutus" and "ambitious" as the emphatic words in this extract, and represent the emphases by the radical descent of the fifth. This best expresses, if we mistake not, the intention of Shakspeare, which was to express surprise at the fact, that Brutus, a man whom Cæsar had saved, loved and honored, should so far have mistaken the feelings of his master, as to accuse him of ambition. That this sentence is generally not so read, we are perfectly aware: in the hands of most schoolboys, and on the stage too, a sneer is mingled with the utterance of the name of Brutus, as if the latter were a contemptible personage; whereas, supposing the oration real, he stood before his countrymen, at the moment of which we are speaking, as the destroyer of a tyrant, -the asserter of his country's rights,--the avenger of her wrongs. So careful, indeed, is Marc Antony that his motives should not be mistaken, that he commences his oration by telling his hearers, that he Comes "to bury Cæsar, not to praise him;" and when at last, having worked on the feelings of his hearers by showing the bloody cloak, &c., of the Dictator to them, he breaks forth against the conspirators, and particularly against Brutus: it is not in the language of contempt, but in that of violent anger. We doubt not, that he sets out with no good feeling against Brutus; but we much doubt whether he would have considered himself safe in giving expression to his real sentiments, until he had so far operated on the minds of his hearers, as to turn the popular current against the assassins of Cæsar. That purpose accomplished,―he excites their anger, --not their contempt. The destruction of Brutus is his object. The latter stands between him and future aggrandizement. He is not an insignificant personage, but a powerful adversary. The following diagrams will exhibit the downward concrete third in its concrete pitch and radical change. The words to the first diagram are taken from "Dryden's Alexander's Feast:" to the latter, from the concluding line of "Milton's Paradise Lost:" The above notation is not that generally assigned to this celebrated and hackneyed passage. We have generally heard the emphases transferred from none to but and brave; as, "None but the brave! none but the brave! In the above diagram it will be seen, that the word "brave" throughout, is the emphatic word, under varied intonations. This word must certainly bear the emphasis or there is no meaning in the passage. Who deserves the fair? The brave. The particles "none" and "but" cannot certainly have any thing to recommend them to that distinctive emphasis with which they are so generally honored, and would be more so in the "breach than the observance." Under our new lights of intonation, the emphasis may be maintained on the legitimate word, without monotony. The descending radical pitch of the third is shown in the following notation : "Thro' E den took their SO . litary way." The radical descent of the third is on the verb "took." B. N. Y. ACADEMY OF SACRED MUSIC. MR. EDITOR,-The cause of Sacred Music, its progress and success, engage much of my sympathy and prayers. Its use in the worship of the sanctuary is an institution of Divine origin, and is powerful in the hands of God's people to fill the heart with heavenly aspira tions and fervent devotion before his throne of grace. Oh, how sweet is the hour of prayer and praise, when kindred hearts are kindled to elevated adoration by the harmony of well-tuned voices. I cannot but regret that so little is done for the promotion of this cause, so worthy is it of the attention and the efforts of the church at large, and of every professing follower of Christ. I am, however, happy to discover, that there are among us many, who begin to feel on this subject as they ought to feel and if well-directed efforts are made by the friends and lovers of devotional music, I verily believe that an impulse may be given to it, which the sluggishness of the church will not be able to resist. Entertaining these views and feelings, I was delighted at the annunciation that a society was formed for the promotion of church music, which I supposed would engage the united efforts of all the pious leaders and teachers of church psalmody in our city. I regret to learn, however, from various sources, and through the medium of your paper, that this Association is not likely to move on harmoniously, in the great and good cause which it has espoused, because one or two persons wish to turn it to their own personal advantage. I was in hopes that these insinuations were made without just cause, and might prove to be unfounded: but as I have not heard any thing concerning the society of late, I fear that some evil may have befallen it. Will you be so good as to inform your readers of its condition and its prospects? A LOVER OF MUSIC. ANSWER.-We are not prepared to say what is now the precise condition of the N. Y. Academy of Music, the Institution referred to by our correspondent; but we understand, that the Finance Committee have recently held a meeting to project "ways and means." More hereafter.-ED. CHURCH MUSIC: CONCERT AT EASTON, PENN. MR. EDITOR,-On the evening of the 10th of September last, I had the pleasure of attending the performance of more than thirty pieces of sacred music, in the 1st Presbyterian Church of Easton, Penn., by two Classes and the Choir instructed by Mr. C. F. WORREL, professor of Music in La Fayette College. These classes were taught by him in Easton, and are not composed of members of the College. From personal observation and particular inquiry on the subject, I am prepared to give you a brief history of the evening's performance, the music of which was taken from no less than fifteen different works. The first exercise of the evening was a prayer offered by the Rev. J. GRAY, pastor of the church. Mr. Worrel then made a few appropriate remarks upon the general abuse of concerts of sacred music. The first class, consisting of about 100 children, between the ages of 5 and 12, who were placed upon a platform erected in front of the pulpit, then sang several pleasing juvenile hymns and songs. One of the songs, sung by five girls about five years old, was particularly pleasing. Then the second class, which contained about the same number as the first, between the ages of 12 and 17, who were placed in a newly erected and large organ loft, at the opposite end of the church, sang a few pieces; after which the two classes performed a number of Rounds, Catches, Responses, and Dialogues. The second class then followed with several Anthems, and the first class closed their exercises, by singing a number of Solos, Duetts, &c. The choir of the church, consisting of about 60 persons of various ages, then took the organ loft, and performed several most difficult compositions, which were all well exe cuted. The evening's exercises were closed with the Benediction by the Rev. B. C. WOLF. The good arrangement and perfect order manifest throughout the evening, reflected much credit on Mr. Worrel. With two things I was pleasingly astonished, the distinct articulation, and exact marking of time by all, even down to the little infants. Although the church was full to overflowing, and the exercises necessarily continued to a late hour on account of the number of pieces performed, yet the most perfect silence and satisfaction prevailed to the end. Such performances, I think, are well calculated to benefit the music of our churches, if conducted in a religious manner. And here I would remark, that the meetings of all the classes taught by Mr. W., are opened with prayer. From this circumstance alone, can I account for the good order and decorum which prevailed among so many children. This is as it ought to be,-and were all our singing schools conducted in this way, how soon would the praises of Zion be uttered in elevated strains, in all our churches; how soon would sacred music be an important auxiliary in enforcing truth upon the conscience, and in making all our family altars vocal with the praise of GOD! A FORMER TEACHER OF MUSIC. Euston, Penn, Sept. 12, 1835. [It affords us pleasure, to give a place to this communica tion, as we have good reason to believe, that Mr. W. is deserving of all praise, for his ability and success in Sacred Music. In the short interval of two years, he has been instrumental in effecting a most happy change, in the region of country where he has bestowed his useful labors.-ED.] SELECTIONS. SACRED SONG: MUSICAL REVOLUTION IN SWITZERLAND. In the south-west of Switzerland, a Musical Revolution is rapidly taking effect. Its object is to give a new direction to popular singing; and its means may be found wherever there are persons willing to take a little pains, and who can find a leader to give them a little instruction, and to guide their voices in singing the charms of their country and the praises of their God. Long was it thought that French Switzerland could not march with the German cantons in vocal music. Long has the lake of Geneva heard little along its shores but coarse, vulgar, and obscene ballads. Lately, the students of Geneva and Lausanne have labored to counteract this evil, by composing, and endeavoring to circulate patriotic songs. The effort has been happily successful, but within a small circle. The religious awakening which is making daily progress in Switzerland, has had great effect in improving the national singing. New methods have been adopted in many schools, to train the children to the execution of hymns, with a fine and simple harmony; and the effect has been so far pleasing. But something was wanted to reach the mass of the people; and that, the kindness of Providence has supplied. About two years ago, M. Kaupert, a Saxon gentleman, who has long resided at Morges, proposed to teach gratuitously the whole population of young and willing persons in any village or small town, to sing together. The rumor attracted considerable attention, and drew forth a variety of opinions. But soon his promises were realized, and all scepticism was silenced. At Morges and in the neighboring villages, concerts of the voice alone were heard, producing such a noble and simple harmony as no person in the whole country had before the least idea of. He was induced to extend his benevolent labors. He electrified, as it were, the whole side of the lake down to Geneva. Every where, the Magician of Song was followed by crowds. The moral effect of this is beyond calculation. M. Kaupert commonly began in schools and other large rooms. Persons of all ages and of every rank in society flocked to these meetings. It was soon necessary to ask for the use of the churches and sometimes large assemblies have been held in the open air. In the former places, hymns are sung; and in the latter, songs, patriotic or descriptive, but all free from any immoral taint. : His plan is, to trace in a simple and clear manner upon a large black-board, the notes of each lesson; and he furnishes each one of his pupils with a card or paper, containing what he judges fit for each step of instruction. He usually succeeds in ten lectures, to qualify these vast masses to execute the simple and touching hymn or song, in parts and full concert, enrapturing all who witness the scene. In the introductory lectures, he strongly affects the imagination and the sensibility of his hearers, by his descriptions of the powers and the intention of music, to breathe noble and generous sentiments, to harmonize the minds and hearts of men, to honor our country, to excite admiration of the works of GoD, and, as the highest point of all, to show forth his praises. These large assemblies follow his instructions, and catch his manner of execution with an enthusiasm perfectly astonishing. His kind manner and untiring patience have a great share in producing the effects which so surprise us. The great and learned city of Geneva invited the musical philanthropist to visit and charm its population. Some of the higher classes became alarmed; but in the result, they too were carried down the stream. Pastors, professors, magistrates, ladies of the first rank, persons the most distinguished for learning and science, were seen side by side with children and poor people, listening and learning. When the grand meeting took place, no church could receive the multitude, and they repaired to the Plein Palais, in number, four thousand singers. Here, however, the success did not answer expectation: the wind acted unfavorably upon the vibrations of the air, and perhaps the distance of the extremes made it impossible to keep time. But M. K. was loaded with expressions of admiration and thanks, and a medal was struck in honor of him; a mark of respect, which, in Switzerland, is never conferred but upon what is judged to be in the highest order of merit. At Lausanne, his instructions were sought with universal avidity. Many, who had been accustomed to spend their evenings in dissipation, began to employ them entirely in learning the new style of music. Children and their parents, all the schools, the professors and students of the college, servants and mistresses, workmen and masters, persons who had been the most opposed to each other, in religion and politics, the inhabitants of different villages distinguished by banners,—all were attracted, all seemed to be of one heart and soul. When the previous training was complete, a day was fixed for the grand concert. More than two thousand singers were arranged in the great church, the noblest Gothic building in Switzerland: the flags of villages and societies were tastefully arranged on an ivy-clad tower: the vast multitude who came to hear were disposed within and without: and then was sung a hymn and its air, of Luther's composing,-simple, grave, noble.— But, Oh, the effect! No words can utter it!— The impression will never be forgotten. The happy fruits of this Musical Revolution show themselves almost every where. The people in the different places keep up their singing-meetings. In the summer evenings they are seen in the church-yard, or on the village-green. In the streets and on the roads, the ear of the passenger is met by the sweet sounds. In these groups we perceive some failures of execution, compared with the fine style when led by M. Kaupert; but attention and practice will remedy them. Christians,-what say ye to this narrative? Cannot you go and do likewise? Cannot you thus draw thousands from the beer-shop and the gin-shop, and the corrupting intercourse of idleness ?--Ye men of patriotism and religion,-open your chapels for this grand experiment. Surely you have good and able men among you, who possess the talent and benevolence to effectuate this object. Why not begin with some stanzas of the fine national melody, God save the King? And are there not other old English songs, not religious, but innocent in sentiment and striking in words and music? And may not these, under your judicious guidance, prepare the way for singing the songs of Zion, thus diffusing the Gospel, affecting the heart, attracting the wanderer, and improving our congregational psalmody? -I trust that this appeal will not be in vain. This instrument of good has never in England been sufficiently tried. A very able writer, however, in the Penny Magazine has lately been endeavoring to arouse the English nation, and to create some sort of British National Music. But with all his knowledge and discernment, he rests his hopes on instrumental music, thinking that the vocal cannot be cultivated and sustained without that aid. He has no idea of M. Kaupert's grand and simple method. Evangelical Magazine. SATURDAY EVENING. SWEET is the last and parting ray, That ushers placid evening in, The Sabbath's peaceful hours begin: To hymn the glad return of peace! To turn the wandering thoughts to heaven! Lord, raise my thoughts from earthly things, THE MINSTREL. NEW YORK, OCTOBER 1, 1835. AMERICAN MUSICAL. JOURNAL. A monthly periodical of this name, recently established, and published in our city, and professing to be an auxiliary in the cause of what it understands by musical literature, is true to its object, and contains a variety of information, suited, however, to the taste of the Opera-going and Theatre-haunting part of our community, rather than to those who take delight in a purer atmosphere. We have ever wished to pursue the even tenor of our way, and to leave the editors and patrons of the Musical Journal to the enjoyment of their literary and scientific franchise. We had little looked for the insertion in that work of any thing in quite such bad taste, bad temper, and bad morals, as disgraces its 235th page. great astonishment, we find the editors admit into their columns such an attack on the ministers of the sanctuary, and such a condemnation of them en masse, for “bigotry," "illiberality," and "ignorant, illiberal, inconsistent twaddle." Then follows a thunderbolt aimed at the FAMILY MINSTREL, with the usual sweeping denunciations against what is called our garb of sanctity." To all such unkind and unholy doings, our only answer, as far as the Editors of the Musical Journal are concerned, is' For shame, for shame!' With We have a word or two to say, however, to the author of the offensive article in question, not so much with a view to his castigation, as to lead him, and all who act with him, to a better mind. We would, with this view, call their attention to the following article. ADDRESS то THEATRICALS. A writer in the American Musical Journal. who uses the signature of A Major,' and puts on his armor in the cause of the frequenters of the theatre and opera, has made certain confessions and certain declarations, which it may be well for them and many others deliberately to ponder. HIS CONFESSIONS are in these words. Speaking of Niblo's Concerts, he says, "Music and gin and brandy slings, cocktails, wine and segars, are dealt out hand in hand. The nightly vocal exertions of Mrs. and Miss Watson, Messrs. Howard, Dempster, and Latham, are accompanied by, (or we might rather say, are principally intended to second,) the more important business of the bar-room." * * "Here would be a field of just severity, particularly the Sacred Concerts, in such a place!!" "If the spirit of Handel, Haydn, Mozart and Beethoven could visit these places, [Niblo's and the Vauxhall,] would they not be filled with indignation at the sacrilegious uses to which their music is applied? I blush for the taste of the city of Gotham. Where are the authorities!" When we lately condemned the profanation of the Lord's day, at Niblo's and the Vauxhall, and commended these haunts of sabbath-breakers to the notice of the proper tribunal, we were thought unchristian and uncharitable. What shall be said now! Here we have a full confession, from one of the very craft, whose private feelings have somehow thus found a vent. We wish to tell no secrets, or we might make his ears to tingle. Our only comment at the present time, is to remind all the patronisers of Sunday Concerts at public gardens, that they are not only sinning against GOD's commandments, but are secretly despised even by their accomplices in guilt. The proof of this is afforded by the writer in the Musical Journal, in the utterance of his intense emotions against the sacred rites of Mr. Niblo. Condemning the gross sacrilege, this writer tells us with commendation of the conduct of the Bishop of London, who effectually put down sacred concerts in that city, on the ground of their being an offensive violation of the sanctity of the Christian Sabbath." "And is not that," says he, "which is regarded as a violation of the Sabbath in London, equally so in New York?" A sound inference surely! And a somewhat praise-worthy deference to ecclesiastical authority! Such an argument in our columns, might have been thought "religious over-much," especially if, with this unsparing writer, we should talk of "drinking gardens" and their "blasphemous mockery." And now a word as to the DECLARATIONS of Mr. A Major.' He accuses the clergy indiscriminately, of the most unworthy conduct, and says, Music will never prosper "while that part of the community among us, who have the power to encourage the art and its well-qualified professors, treat both with bigotry and illiberality,—I mean the preachers." "In their tracts and musical journals, we find a mass of ignorant, illiberal, inconsistent twaddle, as was ever put together." The writer then undertakes to prove all this by the columns of our MINSTREL, and, forsooth, adduces no evidence but the sentiment in one of our selected articles, which says, "If the minister who should lead in the public prayers, should assume the manner of an actor, and should seem to be praying merely to gratify the taste or amuse the fancy of a portion of his hearers, every one would regard it not only as unpardonable trifling, but downright impiety." Any man, we might suppose, who cannot see the justice of this observation, must have strange notions of a pastor of God's people in the House of Prayer. Yet our' A sharp' flies at once into the octave, and trills at us for what he calls "a hit at the stage." "Human nature," says he, "is as beautifully depicted, and virtue inculcated with as much force and truth on the stage as in the pulpit." "I cannot bear to see the attacks made so constantly on a profession which never interferes with the other." Mark well your words, Mr. A."Human But | nature, beautifully depicted on the stage." Perhaps by "human nature" you mean the external human form; and this indeed has been depicted, and most immodestly exposed too, to the outrage of all decorum or decency. again,-" virtue inculcated, with as much force and truth as in the pulpit." This certainly out-herods Herod. We have heard the theatre called a 'school of morals,' but never before did we hear it put quite on the same footing with the sacred desk. And at the bar of any honest man's conscience,-of the conscience of any man who frequents the theatre, is it true, that there is nothing in the boxes, nor in the pit, nor in the galleries; nothing in the unhallowed associations of the sights witnessed, and the language heard; nothing in the character of the performers, and the manner of their dress or rather undress, that renders the whole scene far less calculated to inculcate virtue than to foster vice? Amid the atmosphere of immorality the most gross, is virtue indeed inculcated with any force or truth? Is it ineuleated as forcibly and truly as from the pulpit, amidst the associations of solemn awe and religious seriousness in the Lord's holy temple? We know too much of the drama and its accompaniments, to desire ever to have any thing theatrical in mode or measure, even 'the parade and fascinations of its music,' obtruded into the sacred worship of Almighty God. Say what he will, Mr. 'A sharp,' and all who plead with him for the stage, must see the incongruity of dramatic and spiritual things, and not only admit the "blasphemous mockery" of theatrical Sacred Concerts, but secretly despise a theatrical preacher, condemn theatrical music in the sanctuary, and feel at heart that no man can serve two masters, or should hypocritically make a pretence of doing so. Men are allowed to choose whom they will serve. But at the consummation of all things, we should bear in mind, there is One who will dispose of us, according to our deeds done in the body. The "Missionary Anthem," which we publish in the present number, will be useful for Choirs and Singing Societies. It will be found pleasing, and not difficult of execution by even an ordinary choir,-though at the same time it will need close attention, on the part of the performer who aims to produce the desired effect.. We are indebted for the manuscript of the author, to a gentleman who brought it with him from England. The accompaniment which has been added to the Duett, is by an experienced musical professor of this city. We have on hand other Anthems and Set Pieces, which we intend to insert in our pages. Among them is one of great excellence by Mr. JOHN C. ANDREWS, now of Troy, N. Y. It is harmonized for four voices, and contains several Solos, Duetts and Trios, with an accompaniment for the organ and orchestra. The subject is the Jew's lament, "By the rivers of Babylon," &c. It has been performed once at Pittsfield, Mass., and once at Albany, N. Y.;--the performers reading their parts from the unpublished manuscript. It will probably occupy an entire number of the MINSTREL, eight large pages, quarto. Orders are solicited from Individuals, Choirs or Music Societies, for either of the above Pieces. Early application should be made. The price for single copies of the Anthem by Mr. Andrews, will be 25 cents; and a liberal discount will be made, to those who purchase 25 or more copies. Subscribers to the MINSTREL, however, actually obtain it for eight cents only! |
