SACRED HARMONY, CA. 1790–96
Sacred Harmony appeared anonymously, undated, without place or publication, and it exists in two different states. One issue was 'published by Thomas Lee Junr.' the other by ‘Daniel Willard and Thomas Lee Junr.' A number of the tunes in the collection are elsewhere attributed to Lee, and at least one to Willard; since both men were composers, and since no other names are mentioned in the work, they must have been authors as well as publishers of the issue which bears both of their names.
The two issues differ markedly. One is paged, 4 p.l., 57-116, [2] p., the other, 6 p.l., 108 p. Pages 57-108 in both issues are identical, and are printed from the same plates; so it is clear that the issue lacking p. 1-56 is an incomplete version of the intended whole. A close comparison of the 'Advertisement' in the two issues indicates that the incomplete version preceded the complete one into print. The Advertisement in the incomplete issue states: 'The tunes contained in this collection are principally American compositions, and were never before published.' The complete issue alters this to: 'The Tunes contain'd in the Collection, are principally the Production of American Authors.' The accuracy of the former's claim, ‘Principally American compositions' -supports the belief that its issue was the earlier. Had the complete version been printed first, it could rightfully have made the 'never before published' claim.
Evans identifies Thomas Lee, Jr. (1717–1806), a Farmington, Connecticut, shoemaker, as the compiler. However, this Lee was well into his seventies by the time the work appeared, which suggests that perhaps another Thomas Lee, Jr., was responsible for the compilation.
All indications are that the work appeared in Connecticut, especially since the only other collection that reprinted its tunes was Griswold & Skinner's Connecticut Harmony (No. 230). It is also noteworthy that Daniel Willard, publisher of the second issue of Sacred Harmony and engraver of its first half, also signed Connecticut Harmony as engraver.
Sacred Harmony, [1st ed., ca. 1790-96]
ASMI 446
Sacred Harmony. [T-p. heavily illustrated.]
Let ev'ry creature join / To praise th'eternal God / Ye heav'nly hosts your song begin / And sound his name abroad. / Thou sun with golden beams / And moon with paler rays / Ye starry lights ye twinkling flames / Shine to your makers praise. / Mortals can you refrain your tongues / When nature all around you sings / O for a shout from old and young / From humble swains and lofty kings.
Published by Thomas Lee Junr
4 p.l., 57-116 p. 1 10.5 x 23 cm. Engraved throughout; p. 67, 103 signed by T[homas] Lee.
[ca. 1790-96.] No firm date for the printing of Sacred Harmony has been established. DLC dates its 2d ed. [1790?], while Evans dates the 1st [1800]. However, a number of its tunes appeared in Griswold & Skinner's Connecticut Harmony (No. 230), announced as available in the Stockbridge, Mass., Western Star, 19 Sept. 1796. Since the music in Sacred Harmony was claimed, apparently accurately, as 'never before published, it must have preceded Connecticut Harmony into print. An educated guess is that it appeared between 1790 and 1796. 1st p.l. recto, t-p.; verso, 'Advertisement'; 2d 1. recto, 'Index' covering p. 57-116; verso, "The Scale Of Music'; 3d 1. recto & verso, 4th 1. recto, 'Explanation'; 4th 1. verso, 'Directions for the Learner'; p. 57-116, music. 'The Authors design in this Publication, is to furnish Singing Schools with a Collection of Psalm Tunes, adapted to the Modern Taste and likewise to Simplify the Rules so far, as to render them comprehensible to the most indifferent Capacity. To Accomplish this Plan, a Character is substituted, which renders Flats, and Sharps, useless in keying, and reading Music: and being fixed on the same Line, or space in each part, makes them compare as well by Lines and spaces, as by Letters. A Table is likewise added for the Purpose of accommodating the Music to Instruments. The Tunes contained in this Collection are principally American Compositions, and were never before Published.' (Advertisement in full.)
36 compositions, incl. 1 anthem, for 4 voices; full text (3 partial, I textless). No attribs. 34 1st pr. identified (all except ANGELS SONG, PSALM 108). 1 34 American compositions, I traced to non-American source [ANGELS SONG], I unidentified [PSALM 108].
No Core Repertory.
E38446 (CtY). CtY*, MWA (lacks all printed matter after 4 p.l.; manuscript music b. at end).
Sacred Harmony, [2d ed., ca. 1791-96]
ASMI 447
Sacred Harmony . . . Published by Daniel Willard and Thomas Lee Junr [Illustrated t-p.].
6 p.l., 108 p. 19.5 x 23 cm. Engraved throughout except for 3d p.1. 6th 1. recto, p. 3 & 55 signed by D[aniel] Willard; p. 57, 59, 67, 93, & 103 signed by T[homas] Lee.
[ca. 1791-96.] Reasons for dating this issue later than the other are given above. It is likely that it still preceded Griswold and Skinner's Connecticut Harmony (No. 230) into print, for MORTALITY in Sacred Harmony appeared in Connecticut Harmony attrib. to Willard. 1st p.l. recto, t-p.; verso blank; 2d 1. recto, 'Advertisement'; verso, 'Index'; 3d 1., recto & verso, 'Preface'; 4th & 5th 1. recto & verso, 6th 1. recto, instructions; 6th 1. verso, 'General Directions'; p. 1-108, music. 'The Editors design in this Publication, is to furnish Singing Schools in America, with a Collection of Music, Adapted to the Modern Taste. They have used their utmost Endeavours to remove every unnecessary Character in the Rules that the Learner may with the greater ease, become Sufficiently acquainted with the Practical Part of Church Music, to perform it with Decency and Order. To accomplish this, they have omitted the use of Flats, and Sharps entirely in Vocal Music (except accidental Ones) and have fixed a Character at the beginning of a Tune, on the same line, or space, in each Part which answers evey purpose in Keying and reading Music, that Cliffs, Flats, and Sharps, were made to do: and the parts will compare as well by Lines and Spaces, as by Letters, when Music is written on this Plan. They have likewise added a Table, showing what Letters are sounded Flat, and Sharp, by which means Tunes on this Scale are rendered practicable by Instruments, as well as Voices. The Tunes contain'd in this Collection, are principally the Production of American Authors.' (Advertisement in full.) 'Some are prejudiced by educa-tion in favour of some particular way or method of singing, without ever considering the propriety, or utility of any deviations therefrom.... [New par.] Some again will object that all nations have been accustomed to one particular method of writing music; and that it will not do for us in this obscure corner of the world to make any alterations, or vary from them. But has there been that uniformity that this objection intimates? What period has not exclaimed against innovations in music? Especially when considered as a part of divine worship. Yet if there were that uniformity intimated by the objector, is it agreeable to the growing genius of a free, rising, large extended empire, to be cramped with European, or Asiatic shackles? [New par.] Still it will be said, "Can any good thing come out of Nazareth?" But if this plan of music is calculated to promote, and improve this noble and delightful part of religious worship, viz. singing praise to God, may it meet with due encouragement; but if it is not, may it be laid in oblivion.' (Extract from Preface.) p. 57-108 printed from same plates as 1st ed. (No. 446).
66 compositions, incl. 2 anthems & 1 set-piece, for 4 voices; full text (3 w. partial text, I textless). No attribs. 30 1st pr. (Anthem: Hark; BERLIN, COLUMBIA, EDENTON, EDINBURGH, ESSEX, FRANKLIN, INNOVATION, MIDDLESEX, MORTALITY, NEW-BERN, NEWINGTON, PSALMS 4, 5, 19, 32, 48, 55, 65, 69, 72, 90, 91, 132, REPENTANCE, RIPLEY, ST. CROIX, SHILOH, TABOR, TEMPEST). 163 American, 2 traced to non-Amer-ican sources (ANGEL'S SONG, PSALM 148), 1 unidentified (PSALM 108).
1 Core Repertory.
Not in Evans (no copy on Readex). DLC*.
ASMI pp. 532-535.