2d Treble.

shall prove.

Who my blessings hath giv'n,
And the Son, and the Spirit,
Three in One, shall inherit
Pure esteem,
Supreme.

2.-This is the scale so sweet,

Faw, sol, law, faw, sol, law, mi, faw;

[Or-Do, rae, mi, fah, sol, lah, si, do;] Sing it with accent meet,

Faw, sol, law, faw, sol, law, mi, faw; [Or-Do, rae, mi, fah, sol, lah, si, do;] First ascend in notes so true, Then descend in order too;

Faw, mi, law, sol, faw, law, sol, faw. [Or-Do, si, lah, sol, fah, mi, rae, do.]

[Or-Do, si, lah, sol, fah, mi, 3.-Children should love to sing, Faw, sol, law, faw, sol, law, mi, faw; [Or-Do, rae, mi, fah, sol, lah, si, do;]

Praise to the heav'nly King, Faw, sol, law, faw, sol, law, mi, faw; [Or-Do, rae mi, fah, sol, lah, si, do;] Let us learn his face to seek, Then aloud his praise we'll speak, Faw, mi, law, sol, faw, law, sol, faw. [Or-Do, si, lah, sol, fah, mi, rae, do.]

TWO DOLLARS A YEAR,] VOL. I.

MUSICAL BIOGRAPHY.

Compiled by the Editor.

HANDEL.

GEORGE FREDERICK HANDEL, or more properly HAENDEL, unquestionably the greatest master of music the world has ever known, was born at Halle, in Lower Saxony, on the 24th of February, 1684. He showed his surprising genius at a very early age; and, as in the case of all other wonderful children, there are, of course, many anecdotes of his precocity. Scarcely could he speak, before he articulated musical sounds, and his father, a physician and surgeon, then upwards of sixty years of age, having destined him for the law, grieved at the child's peculiar propensity, banished from his house all musical instruments. But the immortal spark of genius, which heaven had kindled in the infant's bosom, was not to be extinguished by the caprice of a mistaken parent. The child contrived to get a little clavichord, into a garret room, where applying himself, after the family had retired to rest, he soon found means to produce both melody and harmony.

Before he was seven years of age, the Duke of Saxe Weissenfels, accidentally discovering his genius, prevailed on the father to cherish his inclination. He was accordingly placed with Zachau, organist of Halle cathedral; and for three years, from the age of nine, composed a new motet, cantata, or service, every week.

In 1698, he went to Berlin; and yet this fascinating musician was then a stripling of only fourteen! At that early age losing his father, A. D. 1703, he thought he could best support his mother, by repairing to Hamburgh, where he soon attracted universal notice. He played the second harpischord at the musical entertainments there, and also produced his first composition, entitled Almeria, which was performed on thirty successive occasions, with great effect.

After a residence of about four years at Hamburgh, he travelled six in Italy-giving numerous displays of his prodigious ability at Florence, Venice, Rome and Naples.

Unable to remain settled, till he could visit every musical court, almost immediately on his return home, he went to Hanover, in Germany, where he was much encouraged by the Elector, afterwards George 1. of England.

In 1710, he came to London-being invited by some amateurs, who had known him at Hanover. His first visit was only for a year; but in 1712, he obtained permission from the Elector to repeat it, on condition that he should return within a reasonable time. The tempting offers made him in London by the nobility and others, induced him to settle there, notwithstanding his engagement to the Elector, who chose to resent this neglect, when he became King of England, in 1714, on the death of Queen Anne. Handel, however, by an ingenious stratagem, contrived to get again into favor.

A royal party of pleasure upon the Thames had been announced, and directions given at court, to have a barge of musicians in attendance. Handel received notice of this; and composed for the occasion those celebrated pieces, which, from the circumstance, have been called his Water Music. He conducted the performance himself-disguised so as not to be detected. The King, who really had a German ear for music, was very much delighted, and begged to know

who the composer was. A German Baron, (Kilmansegge,) who was a friend to Handel, and in the secret, told him it was written by a countryman and faithful servant of his Majesty; but who, fearing he had incurred the displeasure of so gracious a patron, dared not, in a more open manner, contribute to his amusement. Upon this the King declared, that if Handel was the culprit, he had his entire forgiveness; and, moreover, substantiated his gracious pardon by the donation of £200 a year.

Queen Anne's pension of £200 was thus now doubled by George I., and the nobility having formed a Royal Academy of Music, under Handel's direction, it flourished about ten years; when a misunderstanding between him and Senesimo, dissolved the institution, and brought on a contest, which ruined both the fortune and the health of Handel.

Restored, however, by the baths of Aix-la-Chapelle, he determined to choose sacred subjects for the future exercise of his genius. The resolution produced those noble compositions-his truly divine Oratorios. These are-Dettingen Te Deum, Jubilate, Messiah, Belshazzar, Deborah, Joshua, Joseph, Saul, Susanna, Judas Maccabæus, Jephtha, Samson, Theodora, Esther, Solomon, Athalia, and Israel in Egypt. Of all these, however, only a few have stood the test of time. Even when they were first produced, several were unsuccessful; and very often were performed to such empty houses, that the King, (George II.) who was a constant auditor, composed, together with his attendants, nearly the whole audience. Lord Chesterfield, one evening, coming away from the oratorio, was asked by a friend, if it was over? "Oh! no;" said he, they are now singing away; but I thought it best to retire, lest I should disturb the King in his privacies." Handel would often joke upon the emptiness of the house, which, he said, "would make de moosic sound all de petter." Even the Messiah was at first received with so little favor, that its disappointed composer left London for a time, and repaired to Dublin. It was there first, that this sublime work of genius was duly prized.

During the latter years of his life, he was afflicted with blindness; but still continued to superintend the performances of his oratorios. But it must have been a melancholy sight to see him led to the organ, and afterwards, in front of the audience, to make his accustomed obeisance. It was observed that with many parts of his own

[PAYABLE IN ADVANCE. NO. 3.

music he was unusually agitated---more particularly at the air of

"Return, O God of Hosts"in Samson, he was so much affected as to hold down his head during its performance-and also with that affecting air in the same oratoriowhich so peculiarly applied to his own situation. "Total eclipse-no sun-no moon”—

In the midst of the performance of the Messiah, nature exhausted, he dropped his head upon the keys of the organ on which he was playing, and with difficulty was raised up again. He recovered his spirits, and went on with the performance until the whole was finished. He was carried home, and died, on Good Friday, April 13, 1759-in the 76th year of his age. He had, for many days before his death, expressed a wish to his physician, Dr. Warren, that he might breathe his last on that day. Twenty-five years after, being exactly a century from his birth, that splendid musical festival, which commemorated his genius, took place in Westminster Abbey, where he was buried, and where a monument by Roubilliac was erected to his memory.

It consisted of selections from his works, which were performed by a band of more than five hundred instrumental, and five hundred vocal performers. These were stationed at the west end of the broad aisle; the court, and the rest of the audience, amounting to nearly four thousand persons, were accommodated at the east end, and in galleries arranged along the body of the aisle. A striking proof of the great excellence of the performers is, that there never was more than one general rehearsal for each day's perform

ance.

This appears truly wonderful, when we recollect that vast numbers of the band, both vocal and instrumental, had never performed together before—many being amateurs, who volunteered their services. The whole money received, amounted to £12,850-a prodigious sum, and showing, perhaps, better than any thing else, the eagerness with which people from all quarters, flocked to this splendid exhibition of musical talent, to do honor to the memory of genius and talent so superior to the common standard of human excellence.

The characteristics of Handel, as a composer, are great energy and spirit. His choruses, in the grand, the awful, and the sublime, have no parallel. And the unrivalled skill with which he

arranged and adapted his instrumental accompaniments, evince his thorough knowledge both of the science and the art of music, his deep insight into the philosophy of sound, and his almost divine power of harmony. It was a just and expressive observation, made by the celebrated Dr. Arbuthnot to Pope, who asked him what estimate he was to set on our illustrious composer: "Conceive the highest that you can of his abilities, and they are far beyond any thing you can conceive." To melt the soul, to captivate the ear, (Angels such melody might deign to hear,) To anticipate on earth the joys of heaven, "Twas Handel's task: to him that power was given.

CHURCH MUSIC.

[The following communication, being written by one who is himself an organist, is entitled to the more deference, and will, we trust, be the better received by his brethren.]

ON THE ABUSES OF SACRED MUSIC.-NO. II.

ORGANIST.

LEVITY OF THE "There let the pealing organ blow To the full voiced choir below,

In service high, and anthems clear,

As may with sweetness, through mine ear, Dissolve me into ecstasies,

"

And bring all heaven before mine eyes." MR. EDITOR,-Among the proposals prepared by the Reformers, 1564, it was required, That the Psalms may be sung distinctly by the whole congregation, and that organs may be laid aside," but "their continuance was carried by only one vote, and that given by proxy of an absent member." There is nothing which could have called for this proposition but the levity of the organist, so injurious to devotion, and so unbecoming in the service of Gon. It is, nevertheless, a subject of sincere congratulation, that this ecclesiastical instrument, since the days of the reformation, has continued to adorn most of the Protestant churches; and though there was a time, when a respectable part of the religious community thought "the service of GOD grievously abused by piping with organs," we have now the gratification to see prejudices slowly dying away, and organs erected in the sanctuary of almost every christian denomination. The levity of the organist, however, is yet frequently a source of regret to the devout worshipper. Instead of being stimulated and inspired by the strains which issue from that gilded little sanctuary, his devotional feelings become languid, or are, perhaps, totally driven away for the time.

The introduction before the services comis often so destitute of sentiment, so light mence, and trifling, as to be but little calculated to prepare the mind for the admission of those divine truths, which are soon to be dispensed. How can a congregation feel that "the Lord is in his holy temple," if but a moment before this sentence is uttered, the organist had presumption sufficient to play some well-known march or opera air, and lead, as it were, the imagination of his hearers to the battle-field, or to the theatre, instead of scenes above the starry sphere? The singing of chants, which is customary in the Protestant Episcopal churches after the lessons, cannot fail to give a variety to the exercises highly beneficial to devotion; but the spirits will languish if the organist be negligent in changing the stops of the organ. Next comes the psalm or hymn, the tune of which is generally played once through, to notify the congregation of what is to be sung, that all may unite in an offering of praise so acceptable to the Deity. But who has not frequently heard organists so embellish the air with cadences and other graces, that the subject was almost lost? and I have often seen persons, who were in the habit of singing in church, shut up their hymn book, supposing some new production was to be performed, though in fact they were perfectly familiar with the true air. This, however, cannot be so injurious to the object of sacred music as the manner in which the words are accompanied. It is well known that in many psalms and hymns, the subject of almost every verse varies; sometimes it expresses the terrors of the Lord of Hosts, and then again the kind and endearing attributes of a merciful father; sometimes it assumes the most rapturous expressions of praise, and then again

the humble voice of supplication. Here the talents of an organist are most needed to dress the words in music, to clear and improve them, and to make "the sound a picture of the sense." The impressions which it then leaves upon the mind are more deep and lasting. The terrors of the Lord will awe the hearer into veneration; the kind and endearing attributes of a merciful Father will soften the worshipper in love to him; the rapturous expressions of praise will give him a foretaste of the joys of futurity; and the humble voice of supplication will penetrate the soul, and bend his spirit to contrition. The learned Bishop GAUDEN recommended long ago, that the music of the organ should be so gravely and solemnly applied, as may much fit the temper of men's spirits, and the spirits of that duty, when either sad or solemn with grief, or cheerful and exalted with joy." But how often

"Rough repetition roars in rudest rhyme,

As clappers clinkle in one charming chime." Most of the organists inquire only how many verses are to be sung; and without knowing the sense of the words, they duly fulfil their task, following the dictates of their own imaginations, without consulting how the music applies to the words. Thus I have frequently heard the most humble supplications accompanied with a volume of sound, which seemed to mock the contrite heart; and at other times, when the congregation united in hymns of praise, the accompaniment on the organ was as tame and languid as if the organist was fearful the hearts of the people might make a too "joyful noise unto the Lord their King." Very injurious to devotion and to the object of sacred music, is the levity of the organist in what is commonly called "playing the people out of the church." Some think that now the sacred exercises of the temple are over, and an exhilarating march, or lively jig, will give a pleasant variety to the duties of the sabbath; and as it were, in an instant the solemn impressions made by the sermon, are blasted and forgotten. Here it is, when the organist can destroy much good, where at the same time a judicious and pious player would enforce the subject, by performing such music as would correspond with the tenor of the

"And with their untuned strings, Made horrible discord."

It has been said with much plausibility, that the character of a nation may be ascertained by an observation of the character of its music.Each nation has music peculiar to itself: the American savages, the barbarous Hottentots, the polished Italians, the lively French, the sober English, and the half-civilized Russians, have each a music of their own, and as distinct from that of the others as are the traits of national character, which distinguish one from the other. To insure and preserve the benefits arising from the exercise of this delightful art, great pains are necessary to improve and correct the taste, which directs the composition and performance of it.

By reason of the very general extension of taste in its most liberal acceptation, and the multiplicity of subjects to which it may be applied, it is more liable to perversion and more easy to be diverted from its proper object. Corrupt and bad taste is that which does not communicate to the imagination such feelings as it is calculated to receive from a proper disposition of the subject. It may not be altogether useless to consider for a moment the cause whence bad taste in sacred music proceeds.

First, and most obviously, from ignorance of the art itself. Nothing is more common than ignorant pretenders to skill, attempting to teach others the first and essential principles of the musical science; principles which cannot be acquired but by attentive study, and constant, unwearied application. With becoming deference be it said, that there is perhaps none of the fine arts so plentifully supplied with superficial teachers as the delightful art of music. That art, whose province it is to awaken in the mind the liveliest and most tender emotions-to recal scenes the most dear, and objects the most lovely-to touch the heart in its most sensitive affections, is not unfrequently left to the direction of those, who possess neither taste, judgment, or knowledge.

A second cause is inattention. Inattention in the study or performance of sacred and other music, is more injurious than is generally supposed. When the heart and passions are not engaged, and the mind not interested, it is impossible that any good effect should result. From hasty and inconsiderate reading, the understanding is rather injured than improved; the mind is filled with crude and half-digested notions of the elementary principles. on which the musical science is founded, and the student arises as ignorant as when he commenced. In performance, every power should be exerted, the mind bent intently on the subject, and the main design be to arouse the feelings of the soul, to stir up that celestial fire and energy, which the power of musical intonations is so happily calculated to elicit. When the well-informed observer considers the numbers of dull and inattentive musicians, who appear to regard their performances as a task, he need not wonder at the prevalence of that corrupt taste, which is, unfortunately, too common among us.

A 3d cause is an improper association of ideas. To adapt an improper air to the words to be used or to the occasion when they are used, is a fault so prevalent, that many, who would otherwise be thought musicians of no mean rank, daily commit themselves on this head; yet it will be difficult to find any circumstance, which more materially diminishes the effect intended to be produced. This is evident, because the ideas thus associated are of the most dissimilar nature and tendency, and consequently cannot cause the same ultimate effect. Is it not the height of folly to unite slow and solemn words, which are calculated to awaken pensive and serious meditations, and absorb the soul in reflections of the most affecting nature, to an air, of which the effect is to cause sensations directly contrary? What should we think of a person, who should apply to a funeral occasion an air intended for a military march, or the exhilarating movements of the lively dance? Yet cases nearly allied to this are of every day's occurrence, and (I am almost ashamed to say it) pass without our "special notice" and reprehension. But is not the destruc

tion of good taste the certain consequence of this practice; and ought we not to exert what influence or knowledge we possess, to counteract so deteriorating a custom ?

While we lament corrupt taste in music generally, we have reason to rejoice that the public is every day becoming more informed on the subject, and that many improvements are already made and making. It is a cause of congratulation; and we ardently hope that they will still more improve, till there shall be no reason to criticise or find fault with their performances. M.

For the Family Minstrel.

INDISTINCT ARTICULATION.

A great and increasing fault in the music in this country, is indistinct articulation. So indistinct is the singing in many of our churches, that scarcely one word of a psalm is intelligible. This fault may perhaps be attributed in part to the introduction of organs into our churches;* but it may be observed also in churches in which organs have not been introduced. The custom which our choirs have of assembling in small rooms to practice singing, undoubtedly has considerable influence in occasioning this indistinctness. The learner in these circumstances, endeavors merely to render the tones of his voice consonant with those of others; and on appearing to sing in public, he does not consider that he should not only render his voice audible, but his words intelligible to every person in the house. Probably, however, this indistinct articulation is to be attributed principally to the style of singing so earnestly inculcated for several years past. Teachers of music are very particular to instruct their pupils to swell each notethat is, to commence the syllable with a small voice, to swell towards the middle, and again to diminish towards the end. This has a very happy effect on the melody, but is often very injurious to the articulation of music. Distinctness of articulation both in speaking and singing, depends almost wholly upon distinct articulation of the consonants in each word. But from the nature of letters it is necessary that the consonants in every syllable should be sounded at the beginning or end of the syllable, while the sound of the vowels is in the middle. According to the modern style of singing, therefore, the consonants are sounded with a small voice, while the prolongation and swell of the voice is on the vowels. So far has this fashion been carried, that the sound of the consonants in the words of a piece of music are scarcely audible; and our modern vocal performances are little more than a series of vowel sounds having no more expression and much less melody than simple instrumental music. Indeed it is articulation which occasions the great difference between vocal and instrumental music; and the object of vocal music seems but imperfectly attained, when scarcely a word is articulated so as to be intelligible. A.

This may be true in many cases-especially when the organ is so played as to overpower the voices of the sing. ers.-ED.

+ We have often come to the same conclusion, when prac tising with several individuals in a small room with a low ceiling, and closed doors.-Eɔ.

This needs not necessarily be the case. Indeed, we have long been of the opinion, that swelling the sounds, in many instances, favors the articulation of the words.

We may be

wrong; and, therefore, hope others may be induced to give the public their views on this important subject-through the medium of the Minstrel.-ED.

[It will be seen by the following selection from a London paper, that the mind of man, ever active, is not yet satisfied with the improvements already effected in Pianofortes. The principles here brought to view are important-and will not be the less entitled to the attention of our readers, from the fact, that many of them originated with an American gentleman now in this city.].

SELF-ACTING PIANOFORTE.

When the self-acting organs were invented, the musical public gave great credit to the contrivance, and afterwards took honorable notice of the improvements by the ingenious and persevering firm of Clementi, Collard & Co. But the attention which their creative labors as displayed in various instrumental constructions drew to their manufactory, has been greatly increased by their very novel invention of a self-acting pianoforte. This curious instrument, furnished with a horizontal cylinder, similar to that of a hand organ, and put into motion by a steel spring, performs without external force or manual operation, the most intricate and difficult compositions; and by comprising in its mechanism two complete instruments, each independent of the other, it admits, while the operation of the self-actuated instrument is proceeding within, of a distinct accompaniment on the keys without, which occupy the usual place in front, and may be played on at pleasure, with or without the self-acting part of the machine.

The first instrument of its kind, when the spring is fully wound up, will act for more than half an hour, and may again be prepared for the performance in half a minute; and, if required, stopped in an instant while in full action. The time in which it executes any movement may be accelerated or retarded at pleasure: and while, by the delicacy and perfection of the mechanism, the piano and the forte passages are given with correctness and effect, the fortzandi and diminuandi are produced by the slightest motion of the hand applied to a sliding ball at the side of the instrument. When we consider the state of the pianoforte as originally constructed,-its thin, wiry, jangling tone, ineffective weakness, and other numerous imperfections, and witness the complicated beauties and powers of this self-acting instrument, we must be both delighted and surprised, and almost be persuaded, that to ingenuity, science, and industry, no excellence in musical mechanism is unattainable.

THE OPHICLEIDE, OR KEYED SERPENT. We learn from one of the daily papers, that at the great Musical Festival, which recently took place in Birmingham, England, prodigious effect to the instrumental band was realized from the introduction of a new instrument, hitherto unknown in England, called the contrabass Ophicleide, or keyed serpent. It is of brass, splendid in appearance, and the prodigious length of 14 feet, copied, probably, from our American sea serpent. In compass it descends lower than any instrument hitherto known, and its tones have great variety from mellow smoothness to terrific power. It supplies what was a desideratum, a powerful bass-making its invention an era in music.

RULES TO BE OBSERVED IN SINGING.

1. Take breath between the passages, and in proper time, and never catch the breath in the middle of a word, or between syllables.

2. Such words as and, of, to, the, a, an, by, &c. commonly require but little emphasis.

THE HUMAN VOICE.

[The good sense and sound philosophy contained in the following article, as well as its bearing on correct morals, entitle it to an attentive perusal. It is extracted from that valuable publication, the Journal of Health.]

The preservation of the voice, and the means of improving its tones and compass, are subjects of no little interest, especially to the public speaker. Even though it be exerted only in ordinary conversation, in reading aloud or in singingwhether as a part of religious worship, or in the social circle, a full, clear and pleasing voice, must be considered as no mean accomplishment. The following hints on the preservation and improvement of this function, will, therefore, we trust, be not unacceptable to our readers.

The first and most important rule for the preservation of the voice, supported equally by ancient authorities and modern experience, is that the public speaker should, if he "strive for the mastery," be habitually temperate in all things— moderate in the use of wine, and in the indu!gence of the table; and not given to any personal excess. A bloated body and enfeebled constitution are not only injurious to the voice, but render an individual equally incapable of any other exertion, either of the body or mind. The voice should not be exerted after a full meal. This rule is a consequence of the first. The voice should never be urged beyond its strength, nor strained to its utmost pitch without intermission; such mismanagement would endanger its power altogether, and render it hoarse and grating. Frequent change of pitch is the best preservative. The same rule holds good in music. Skilful singers may, sometimes, for brilliancy of effect, and to show the voice, run up and touch the highest notes, or descend to the lowest; but they should by no means, in their modulations, dwell long on the extremes.

At that period of youth when the voice begins to assume the deep, full tone of manhood, no violent exertion should be made; but the voice ought to be spared until it becomes confirmed and established. Neither, in accordance with this rule, should the voice, when hoarse, be exerted at any period of life, if it can possibly be avoided.

Few things are so injurious to the voice as the use of tobacco. To speak well with any thing in the mouth, is scarcely possible. Provided even the tobacco be removed during a discourse, the saliva, in the absence of the accustomed stimulous, is either not secreted in sufficient quantity, and the mouth becoming dry, renders the voice harsh and broken; or as is commonly the case, the fluids of the mouth are furnished in excess—a circumstance in the highest degree detrimental to a clear and harmonious utterance.Snuffing is even more objectionable than chewing; by causing the breathing to be carried on solely through the mouth, the use of snuff produces very nearly the same change in the tone of the voice as occurs in an individal laboring under a cold. By all who desire the attainment of a clear, distinct and pleasing utterance, the use of tobacco, in any manner, should be abstained from.

The voice as well as the health of a speaker, suffers materially unless the chest is allowed to expand freely. Hence, all compression or restraint, should be carefully removed from this portion of the body; for the same reason, an erect position should be assumed as well in speaking and reading aloud, as in singing.