THE SUFFOLK SELECTION, 1807

ASMI 478 

The Suffolk Selection of Church Musick. To which are prefixed, rudiments for learners. Compiled under the inspection of several gentlemen in Boston and the vicinity. Boston published by Thomas & Andrews, and sold at their bookstore, No. 45 Newbury-Street 1807. J. T. Buckingham . . .  printer.

158, [2] p. 13.5 x 22 cm. p. no. 91 inverted.

Copyright granted, 26 Oct. 1807, District of Massachusetts, to Thomas & Andrews as proprietors. Preface dated Boston, 2 Nov. 1807. 1 p. [1], t-p.; p. [2], copyright notice; p. [3]-4, 'Preface'; p. 4, 'Advertisement'; p. [5]-7, 'Rudiments for Learners'; p. [8], 'Hymns for particular Pieces'; p. [9]-158, music (p. [9]-80, 'I. European Musick'; p. [81]-128, 'II. Selected American Musick'; p. [129]-58, 'Original American Musick'); p. [159], 'Metrical Index'; p. [160], 'General Index.' 'The design of this compilation, is to furnish schools and societies with a competent number of tunes, in the variety of style best adapted to sacred uses. [New par.] It is believed that the first section, which consists entirely of European compositions, will be found satisfactory. If the second should be thought less valuable, it is hoped, that it will not be considered wholly destitute of merit, although the tunes are not the best in point of composition, which might have been selected. There is a levity in some of our best written American tunes, which renders them odious to serious people; not so much on account of the movement as the character of the compositions; for a quick tune, and even a fuge, properly constructed, may be solemn and impressive, but tunes verging on the theatrick or ludicrous, however ingenious the composition, will deservedly, meet with but little encouragement. But it may be enquired, whether there does not not [sic] exist an erroneous opinion respecting musical character. By some, slow musick only, has been considered devotional; but sacred musick in the style of Handel's Dead March and Madan's Denmark, will certainly produce a better effect than the heavy and tedious strains of ancient church musick performed in the time prescribed by their authors. [fn.: 'In the country towns and parishes in England, where the organ has not been introduced, and where vocal musick flourishes, the slowest tunes are in little use; and many sung in Largo time among us, are there performed in Allegro. Walworth, for instance, was lately sung here in the latter movement, by an English gentleman of taste, to the words "Christians awake, salute the happy morn," and the company present, who very much admired the tune, conceived it to be a new one, notwithstanding they had been acquainted with it for years. It will be seen that many English tunes in this selection, were designed for performance in moderate Allegro. But it happens, unfortunately, among us, that the character designating the time, which frequently means no more than to show how many notes fill a bar, and where the accents fall, is more attended to than the genius of the musick, or the subject to which it is adapted."] These were for the most part written for the organ, and in those days when the psalm was parcelled out line by line: but since men have been permitted to think and act for themselves in modes of worship, that practice has in a great degree, been discarded: therefore, where a choir of singers is substituted for that expensive instrument, at once the pride and ornament of those Gothick structures,

"Where through the long drawn aisle and fretted vault, / The pealing anthem swells the note of praise,"

musick of a less heavy construction, may with propriety be adopted, and the application commited to a leader whose taste, judgment, and approved piety, capacitate him for the office. The compilers of this work are among the number of those who deplore the degraded state of church musick, and would cheerfully contribute all in their power to a reformation of the publick taste. They witness, with sincere regret, the currency which numberless base compositions obtain; but feeling the strongest conviction, that in order to effect so desirable a change, it is eligible to distinguish, rather than indiscriminately condemn; therefore, instead of aiming at a sudden attainment of perfection, have selected such domestick tunes, as, all things considered[,] appear to them the least exceptionable; and though in their present state, these may not bear a general comparison with the compositions of the old world, yet, it is presumed, that less alteration will be requisite to entitle them to the appellation of classical productions, than a considerable number of trans-atlantick ones have successively undergone. [fn.: "The reason why ancient musick is preferred, cannot be because the style is always superiour or the harmony perfect: nor can modern musick be rejected altogether for the want of these qualities; otherwise we should not see American tunes reprinted by Masters in London with triffing emandations; and many of the most celebrated English tunes very materially altered by eminent professors in London and Boston.'] The compilers are sanguine enough to hope, that there will be found in this selection, sufficient testimony to the existence of musical talent, even in this reputedly untuneful part of the globe; and are led to indulge themselves in the pleasing anticipation of meeting the wishes and expec-tations of every friend to American science. The last section contains a number of original pieces, intended to supply some deficiencies in metres. [New par.] On the whole, as this collection is larger than any one society will find necessary, it is hoped that there will be found a sufficiency for all; especially, as it is generally acknowledged that a moderate number of tunes, well adapted, and understandingly peformed, is preferable to a larger number, less perfectly known. And hence the necessity of caution in the introduction of new musick into publick worship. As a check to the influx of spurious compositions, and to regulate the catalogue of tunes for sacred uses, it is the practice of some societies, to elect standing committees, principally of the most judicious and well informed singers; who, feeling the resposibility [sic] and importance of their appointment, can hardly fail to render that interesting part of our devotional exercises acceptable and edifying. This excellent practice is cordially recommended to all, who are concerned that the worship of God, should be conducted with decency and order. (Preface in full.) "The European tunes in this work were taken from the best copies which could be obtained, and have not been altered in a single instance; but some excellent pieces, not originally designed for change of words, have been carefully adapted. [New par.] Where liberty has been obtained, the American tunes have undergone some trifling corrections in harmony.' (Extract from Advertisement.)

          166 compositions, incl. 1 anthem & 1 set-piece, for 3 & 4 voices; full text. Attribs. to Addington's Coll., Dr. Arne (2), W. Billings (5), E. Blancks, Breillat, Dr. Burney, Callcott, Chandler, J. Chetham, J. Cole (5), 'Ad. fr. Corelli by U. K. Hill, Dalmer, Frothingham, German, Giardini (2), D. Green, 'Ad. fr. Grigg, Handel, 'Ad. fr. Handel,' Dr. Hayes, U. K. Hill, Holt (3), Holyoke, Jesser, Kimball (4), G. Kirby, Knapp, Leach (2), C. Lockhart, Dr. Madan (4), E. Mann, Milgrove (2), 'Ad. fr. Milgrove' (3), T. Olmstead (3), Peck, Portuguese, H. Purcell, Dr. Randall, Read (2), Rippon's Coll. (13), 'Ad fr. Rippon's Coll.' (3), Rogerson, Dr. Schaeffer, Smith, I. Smith (6), J. Smith, Swan (2), Tansur, Thorley, Tucker, Upfold, Z. W. Vincent, Wainwright, T. Walker, Williams's Coll. (17), Wood.25 1st pr. identified (ALBINUS, Anthem: The Lord is; APPISORUM, ARMENIA, AURELIUS, BROAD ALBIN, CALIDAS, CAMBRIDGE PORT, CHRISTMAS, CORNHILL, CONSECRATION, DOMIN-ION, EMBDEN, HALLIDOWN, HAVILA, HUMILIATION, LYMINGTON, MOUNT ENON, PALESTINA, PALERMO, ROCKLAND, SALVADOR, SEEFORD, SHEPHERD, SYRIA), also I poss. 1st pr. (TRANQUILLA), 9 1st Am. pr. (ALMANZA, CARTER LANE, CHERRITON, FURMAN, KINGSLAND, MILE END, RADWINTER, READING, SAYBROOK) & 1 poss. 1st Am. pr. (STOCKPORT). 178 American compositions, 87 non-American, 1 unidentified [FURMAN] (34 attrib. Americans, 44 traced; 82 attrib. non-Americans, 5 traced [ARCHDALE, MILE END, MOULINES, SAYBROOK, SEAMAN'S SONG]). 

28 Core Repertory.

          S13659 (MWA). CIY, DLC, ICN, MB, MBC, MSAE, MWA", NcWsM (all after p. 156 mutilated).

NOTE: See also No. 242, [Oliver Holden,] Occasional Pieces [1807].

ASMI pp. 570-573.