SACRED MUSIC, 1808

ASMI 177 

Sacred Music in two, three, and four parts, selected from European & American publications of the highest repute, adapted to the various measures and version of David's Psalms in use in the Protestant Episcopal Church, of the United States[.] Suitable for singing societies and schools, and arranged for performers on the piano forte[.] Most respectfully dedicated, to the Right Reverend the Bishop, and the Reverend the Clergy, of the said church, in the state of New York. By Peter Erben organist of St. Georges Chapel, Newyork. Publish'd: & sold at all the music stores.

3 p.l., 12, 52, [2] p. 15.5 x 22.5 cm. 1 1st p.l., p. 1-12, 1-[54] engraved.

[1808.] Endorsement, verso 3d p.l., dated New-York, 12 April 1808. 1st p.l. recto, t-p.; verso, 'Index'; 2d 1. recto & verso, 3d 1. recto, 'Introduction'; verso, endorsement by Benjamin Moore, Bishop of the Protestant Episcopal Church; p. 1-8, 'Rudiments of Music'; p. 9-12, 'Exercises'; p. 12, glossary; p. 1-[54], music. 'As there is no book of sacred music adapted to Tate and Brady's version of David's Psalms, and as most of the tunes now in use in the Protestant Episcopal Churches of the United States, are contained in different books; such a collection as the following has become highly necessary. This collection has been made from various authors of established reputation, and contains the most approved tunes now in use in our churches. Some of the received tunes have been omitted, because, although possessed of a temporary popularity, when brought to the test of examination, they are found to be greatly deficient, especially as to correctness of composition. [New par.] In all regular compositions, the part which is called the Treble, contains the air or melody, and ought to be sung by females and boys. The acuteness of the treble renders the air predominant; and although the pitch of the female voice is an octave above that of the male, yet when both sing the same air together, the melody will derive no injury from this interval of sound, because the octave above forms a perfect unison with the octave below. Of right, the treble part belongs exclusively to the female voice, as it is more brilliant, and infinitely better adapted for articulation and expression than that of the other sex. [New par.] The Tenor and Counter parts are mere accompaniments to the treble and bass, calculated only to fill up the harmony, and ought therefore to be sung with a softened male voice, just strong enough to give connection to the several parts, and neither of these ought to assume the character of principals in the tune. Superiority appertains to the treble and bass voices; to the treble voice, because it has the air or melody to perform, and to the bass voice, because it has to support the general harmony of the whole piece; therefore, the bass part ought [New par.] always to be sung with great judgment, either as to tone, time and tune. Psalmody has, for several years, suffered exceedingly by the continual influx of new tunes into Christian assemblies; a great proportion of those tunes have nothing to recommend them but their novelty-but novelty can prove no permanent recommendation to any thing so intimately connected with religion. The sacrifice of praise ought to be as perfect as the offerers can make it, "without spot, and without blemish"; but this is so far from being the case with a very great proportion of new tunes called sacred, that while they violate every principle of chaste composition, and but demonstrate the ignorance and presumption of their authors; they tend by their levity to offend the minds of serious people, or by their dulness and want of expression, to prejudice the minds of the younger part of the congregation against church music in general... [New par.] It were devoutly to be wished, that the psalm tunes of the Protestant Episcopal Church in the United States were fixed as her public offices are. Were this the case, the voices of numbers in every congregation would not be silenced, first by one new tune, then by another, and so on, until all the elderly people are virtually deprived of the privilege of praising God in public, and the right of performing that sacred duty transferred entirely from the senior members to the juniors, in almost every congregation. [New par.] This is a necessary consequence of the fluctuating state of sacred music, and the attendant consequences of this mutability are not only great and many, but much to be deprecated. If an attentive observer, during the appointed times of singing, were to take notice, what a great proportion of the congregation are silent, he would (judging charitably) ascribe this silence not to choice, but to some overbearing and unavoidable necessity: but if the evil can be so easily traced up to its origin, with equal ease the cause may be removed; and this may be done, if not wholly, yet in part, by rendering the music of the church as unchangeable as is compatible with the mutable taste of mankind. [New par.] Were the tunes rendered in any degree permanent, even those who, from age and attendant circumstances, are prevented from receiving instruction from any professional teacher, would imperceptibly acquire a facility of taking a part in their public performance; the music of the church would then, like her public offices, become a kind of hereditary right, and by frequent use, be made familiar to the ears and voices both of the young and the old'. (Extract from Introduction.)

          65 compositions for 2, 3, & 4 voices; some w. full text, some textless. Attribs. to Dr. Arnold's Coll. (2), Billings, Bull, Dr. Croft, Green, Handel, Jacksons, Leach (11), Martin Luther, Dr. Madan, Dr. Miller, Dr. Miller's Coll., W. Pirsson, Pleyel, Shrubsole, Stevenson, Tallis, Thorley, Dr. Wainwright (3), Jno. Wainwright. 3 1st Am. pr. identified (FAILS-WORTH, SHEFFIELD, TRIUMPH). 14 American compositions, 61 non-American (3 attrib. Americans, I traced [WINDHAM]; 30 attrib. non-Americans, 31 traced). 

30 Core Repertory.

          Not in Shaw-Shoemaker (no copy on Readex). MWA*, NcWsM (front matter inc.), RPB (lacks front matter after 3d p.l. & all after p. 52).