The Liverpool Standard and General Commercial Advertiser.
Liverpool, Merseyside, England, 1839-01-15 00:00:00

LECTURES ON ENGLISH VOCAL HARMONY,

LIVERPOOL MECHANICS' INSTITUTION.

On Wednesday evening Edward Taylor, Esq.,
Gresham Professor of Music, delivered the first lee.
Lure of his course at this excellent institution.
In the following lectures, said Mr. Taylor, I purpose to
trace the origin and progress of English vocal part music.
If the music of of our country can lay claim to any dis-
tinct national feature, it will be found in this class of com•
positions. Our instrumental music, ancient as well modern,
is nearly all of continental growth, and in what is native we
but imitate what continental rules have laid down. In dra-
matic music we are also copyists, nay, we have nearly de-
graded ourselves into importers. Though we have been thus
content to copy the models furnished us by the Italians and
the Germans, in all other kinds of music, we cannot, how-
ever, produce a foreign glee: no such thing exists. It is of
English origin, for the vocal concerted pieces of Italy and
Germany are essentially different in character from those
which we designate by the term glee. Regarded simply as
musical compositions, I consider the history of this branch of
vocal history as well deserving the attention of any en-
lightened audience, and, I trust, that here at least, it will not
be thought the less worthy of attention because it is the ex-
clusive production of the English soil. (Loud aplause.)
Of this I am sure, that whenever the compositions of \Vilbye,
Webbe, and Callcott shall cease to interest theircountrymen,
that English music will be on the decline. I preferred con-
fining myself to this branch of music than to take a more
extended range in the history of the art, because I believe
that such a plan will be more instructive, and I hope not less
interesting to my audience. Fortunately for you and for
myself, the interest of these lectures will not depend upon
myself; the talents of the ladies and gentlemen by whom I
am assisted are too well known to you to require any eulo-
glum of mine, and without their assistance I should not have
appeared before you. To those who are previously acquainted
with a glee or madrigal the performance of its notes on a
piano-forte way give a reminiscence of its vocal effect, but it
cannot give any adequate idea of the beauty of the composi-
tion; for, in point of fact, such a performance would bear
the same relation to vocal harmony that an engraving bears
to a painting. In the earlier periods of vocal history it will
be found that it was confined to mere melody. The skill which
enables the composer to add graces to his work has not been
the effect of chance but the result of study and expe-
rience. I aria induced to present this branch of mu-
sical composition to you from the little and imperfect notice
which it has received from those who have written upon
the history of the art. It is evident, from a perusal of
Dr. I3urney's elaborate history of music, that in all that
regarded the vocal part music of England, his research
was extremely limited; his knowledge was of course propor-
tionately scanty, and of consequence his opinion is of little
worth. 'The doctor betrays a disgraceful ignorance with
respect to the musical knowledge of the English, and the
musical student must not, therefore, rely upon his facts, or
place much reliance on his opinion. The truth is, that his
taste did not lie in that direction, and, like many of his
countrymen, he wandered all over the continent in search of
those beauties which I consider to exist, not only in greater
perfection, but in rich and varied profusion, at home: We
cannot, therefore, wonder at the assertions of some foreign
critics, that the English have no school of national music.
Whether the music of that school is bad or good, must be
matter of opinion, but there is no doubt that such a school
exists. To trace the origin and progress of English vocal
harmony ; to set before you the various styles of vocal har-
mony which marked the musical epoch of our country ; to
describe its first rude origin ; its growth in symmetry and
beauty; to note its decline, and revival under another name,
till it reached the form, variety, and polish which marks its
present state of existence, is the outline of my purpose. It
may be proper to premise that, iu using the phrase vocal har-
mony, I do not employ it in its frequently understood sense,
as songs accompanied with music, hut as distinct from melody.
These lectures will only illustrate the history of vocal part
music in this country, that is of vocal music written in many
parts, and intended to be sung without the assistance of an
orchestra, and for the most part without any accompaniment
whatever. The three principal departments of this class of
music are the madrigal, catch, and glee. The first we derived
from, and possess in common with, other countries, the two
latter are almost exclusively English. The pleasure which
the ear is capable of deriving from harmony, is suggested to
man in so many ways that we can scarcely imagine any state
of civilization in which the science of sweet sounds would be

altogether unknown ; but although music is natural to man,
its laws could not be reduced to a system until the advance
of science enabled them to be definitely arranged and under-
stood. When the mathematics were studied, the musician
would be able to preserve a record of his art, but it is certain
that music must have been known as au art before it was
reduced to a science, and practised before its notation was
known. Tradition has handed down to us accounts of ancient
airs of which no vestige or record now rentaini•.
Most of the music composed antecedent to the reformation,
perished at that time, and very few specimens of ancient
notation survived the destruction of manuscripts and books
which accompanied the dissolution of the religious houses.
Previous to the reformation and prior to the invention of
printing, neither the art nor the science of music could have
been extensively understood, except by the clergy, who en-
deavoured to keep its principles inaccessible to the common
people, by locking them up in the Latin tongue. Perhaps
the most complete and valuable musical collection extant
was made by an old priest named Forrest, in the reign of
Henry VIII. It contained many of the productions of
verner, Itarbeck, Favrfax, and others, and is now preserved
in the library at Oxford. From its obsolete notation, and
the absence of bars, ancient music is almost a❑ unknown

tongue, and it is a separate and distinct art to be able to de-
cipher it. It is not very easy to transform ourselves into
musical spectators of this age. We are so accustomed to
associate music with the refinements which modern compos-
ers have gathered around it, that we can only consider it as
an abstruse science when it was worked out as we work a
problem; when the invention was intended ❑ot to gratify the
ear but the mind, anti when the only sense to which it ad-
dressed itself was the eye; when the symbols were rude and
in)stical, and only to be understood by dint of great labour.
To attempt music under such circumstances would hardly
be to do it justice. Mr. Taylor then exhibited an ancient
composition of a cruciform shape. This specimen, said he,
will give you some idea of the way and the purpose (or which
musical compositions were constructed, you will say that it is
very easy to place music so as to form a cross, but this is an
elaborate composition, as it contains the elements of four
canons combined in one. It is in fact four separate canons,
and requires great skill to decipher it. Music of this kind
would give but very little pleasure in performance, and in
fact it was not intended to address itself to the ear.

Although I claim, and am prepared to maintain for the
compositions of England an equal degree of merit with those
of any other country, in that department of the art on which
I am now lecturing, vet I must in justice state, that the earli-
est and greatest stride to excellence was made by a celebrated
Italian of the name of Palestrina, who was born at Preneste
in 1529. Italy at this titne, instead of being as she afterwards
became, the great repository from whence Europe was con-
tent to draw her principal supply of singers and composers,
was dependent upon other countries for her musical compo-
sitions, chiefly Flanders and Spain. Palestrina was pro-
moted by Pope Junto. 111. to the situation of maestro di ca.
peto, and he devoted himself to the service of the church as
a sacred composer. lie not only excelled all his contempo-
raries and predecessort., but it may be questioned whether in
majesty he has ever been surpassed. He founded in Rome a
school for vocal instruction, under the patronage of the Pope.
Several of his compositions ate still in use in our cathedrals,
arranged by Deau Aldrich. One of these set to the words
" We have heard with. our ears, 0 Lord," I once had the
good fortune to hear performed with a full orchestral choir,
cousisting of 149 performers, and never do I remember a
more grand or solemn effect to have been produced. Indeed
I regard Palestrina as one of the great musical lights of the
world. Remember what music was before his time; a mere
assemblage of dull sounds arranged by the rule and square.
Into this inert mass Palestrina breathed the breath of life.
He saw the giant strength of his art, and he bade it come forth.
His genius was different from that of acquired skill, because
the parts of his compositions exhibit an unity of design which
could not be extracted from mere mechanical rules. In
the works of Palestrina we see, and see for the first time,
that end accomplished. Musical compositions are no longer
an assemblage of unmeaning passages strung together with-
out design, but each composition has an identity of purpose.
I know of no mind in which that glorious prerogative of crea-
tive energy was more wonderfully developed than in that of Pa-
lestrina. lie infused infinite sublimity into the service of the
church, and gave a new enjoyment to that of the chamber.
As marble yielded to the hand of Phidias, so did music
to the mind of Palestrina. Although 300 years have elapsed
since the compositions of this extraordinary man were
written, they afford the same gratification to the present as
they did to past generations. We see many musicians of
the nresent day wf_th all the advantages %,hich they have de-
rived from the eLperience of three centuries, vainly endea-
vouring to give to their works the character which attaches
to those of Palestrina, but yet they end only in noise. Yet
here is a man destitute of those advantages producing these
effects in his art. which individuals of this age vainly endea-
vour to copy. Their present existence is a proof of their ex-
cellence. How many composers have enjoyed a transient
popularity, of whom no trace remains: I might instance
some composers whose works were seen in every music shop,

and found in every drawing-room, whose compositions would
be as strange to my youthful hearers as those of Palestrina.
They came " like shadows, and so depart," and so will all
compositions which have not the impress of a master mind ;
the sand heaped up by one flood is washed a‘way by another.
Palestrina wrote both for the church and for the chamber.
The first of his compositions which I shall present to you will
be a sacred one, although not originally written fur the
church. For this as for many other works of art, we are in-
debted to the notable family of the Medici, whose patronage
Palestrina enjoyed. He swished to record his gratitude fur
the patronage he had enjoyed by his dedication of some
works to them, but custom forbad any dedication of a sacred
work to any but dignitaries of the church. There existed
in the monastery of St. Filipe, a prayer to the Virgin, which
had been often repeated by him during his illness, and which
upon recovering he determined to set to music. The Madri-
gals, of which it is one are published in a work called
Madrigale Spirituale." Each stanza is a separate compo-
sition, and may be regarded as the first compositions written,
not for a choir, but for a private society. Of this work 1
have been able to procure a copy, which is now in the
Gresham Library. The character of this composition is
simplicity. In translating the words I have adhered as
closely as possible to the spirit of the original. You must
not contrast it with the productions of modern times. The
Madrigal, entitled in the Italian, " (quango del terzo Cielo,"
is dated 1560. The following are the English words :

Jehovah reigns, in majesty excelling :
Above the clouds is fixed his awful dwelling.
With humble reverence let us bend before hint,
And deeply in our inmost hearts adore him.
In justice and in truth he ever reigneth
O'er heaven and earth, and all that e,rth containeth,
His glory through eternity extending.
[The performance of this was productive of much applause.'
It was about this time that music began to infuse itself
first in Italy among the educated classes of society, as a
social amusement, for up to this time music was only known
in the service of the church. Concerts were totally un-
known, and the first shape in which music showed itself as
an amusement, was as you have just heard it, and it is owing
to the genius of Palestrina that it was rendered tributary to
the amusement and enjoyment of mankind. It was in the
form of madrigals that this alteration took place, and this
composition which you will now hear was the first of its
kind. The words translated from the Italian are—
Where'er my Cynthia wanders,
All nature seems to greet her ;
With soft and sweet meanders,
The streamlets run to inert her.

Yet of the abundant variety of compositions of this kind
which the Italian school unfolds, I can only now give you a
very feeble idea. I do it merely to shew the kind of music
cultivated in Italy, and to enable you to trace the connexion
between our English music and that from which it took its
rise; for about this time the art or vocal writing in England
began to be facilitated by the travels of our men of letters
and musicians to the classic ground of Italy. It is related of
Milton, in his life by his nephew Phillips, that when in Italy
he collected a chest of music books, by the best masters,
(which must have been madrigals,) including compositions
of Giovanni Ferretti, Constanzio Festa, and Luca Marenzio.
I shall take my illustrations from the different schools of
Italy, for we must not fall into the common error of consi-
dering all the music of Italy as of one school: there were
the Roman school, the Florentine school, and the school of
Naples. The first we shall have is the Roman school, and
is by Festa. We are indebted to Mr. Oliphant, the secre-
tary of the Madrigal Society, for its preservation, as well as
for the excellent translation of the Italian words, which very
nearly approaches the spirit of the original. Many of the
madrigals of this time contain ill natured remarks upon the
Italian ladies of that time, but I am sure the ladies present
will not consider these as applied to them. Whilst listening
to the flow of this music, scarcely can I persuade myself that
three centuries have passed since the madrigal " Down in a
flowery dale" has been written. It has all the ease of mo-
dern writing, with the fine old Roman flavour of the Italian
school of counterpoint. [This madrigal, composed in Mid,
commencing— . _

Down in a flowery dale,
All in a summer's morning, B,:e.

was sung and loudly applauded. The last stanza, the reply
of Phillls to her lover, to which Mr. Taylor alluded, caused
great amusement, and procured for the composition an encore,
with which Nit.. Taylor at once complied, but good-humour-
edly begged the audience to remember that they were listen-
ing to a lecture, and not to a concert. The following is the
last stanza :

If gold thou past, fond youth,
'Twill speed thy suing;
But if thy purse be empty,
Come not to me a-wooing.

It would be an act of injustice to the Italian madrigal-
writers of this period, if I were to pass over another cele-
brated composer of the Roman school—Luca Marenzio; for
amongst the disciples of Palestrina's school, few distinguished
themselves more, or displayed greater skill and feeling in
their compositions. He was many years organist at the
Pope's chapel, and the most voluminous madrigal-writerthat
ever lived, no fewer than two hundred of his compositions
being in the possession of the Madrigal Society of London;
and I must do him the justice to say, that there is not one
of an inferior kind among them. To the lovers of madrigal
writings many of his compositions are familiar. [Mr. Taylor
illustrated the works of this composer by a madrigal com-
mencing— _ _ .

Lilies white and crimson roses
Upon her cheeks are blooming.]

One other madrial must close our review of the Italian
school of this period. This belongs to the school of Venice,
and the composer was Giovanni Ferretti. [The madrigal
commencing "Lady unkind, my heart thou hast ensnared,"
by this composer, was then.effectively sung.]
It was not in Italy alone that music was cultivated at the
end of the 16th century; in Flanders it was studied with
great success. The splendour of the reign of Charles V.
attracted many of the greatest masters in the arts and
sciences, to his court ; while the merchants of Antwerp vied
with those of Brussels in the costliness of their furniture,
mansions, and equipages, and in the encouragement of the
arts and sciences. Antwerp was the nursery of the arts, as
well as the chosen seat of commerce. In fact, it is impossible
to travel through Flanders without being struck with the
evidences of its ancient splendour, which are profusely
scattered about in every part. There too still exists the
venerable printing-otlice, from which learning and literature
were diffused throughout Europe. No Wonder then that
music should have flourished in such a soil with her sister
arts, and we have not merely tradition but the works of great
musicians to prove this. Ludovico Guarachini. in writing

0
upon the state of musical knowledge in Flanders at that
period, says, " that its inhabitants were utccomplished
students in music—the ladies and gentlemen sang music at
parties with such a happy union of nature and art, that they
were not surpassed by the inhabitants of any country in
Christendom." The same author mentions tho pomp of the
musical ceremonies in the cathedrals. Concerts of instru-
mental music were then unknown, but the singing of vocal
music in parts, was the customary amusement at social meet-
ings and in private families, and vocal instruction, (in what
we are accustomed to call the dark ages) was so general, that
every well-educated person of either sew was expected to be
able to take a part in it; indeed, Castiglioni, who lived :;Lout
that time, mentioned as one of the accomplishments of a
courtier, that he should tie able to sing a part in madrigals at
sight. The derivation of the word madrigal (toes not appear
very easy to trace. Some have attempted to derive it from
the term Mariego, a name applied to certain inhabitants of
Provence; with snore truth, however, it may be derived from
tne title given to the hymns of the Virgin, which I find iu
some of the early Italian writers, written /mania/la: and
that after its import became forgotten, it was written madri-
gale ; but whatever the derivation of the word, it is certain
that this class of compositions excited the competition of all
the composers in Europe. Amongst the most celebrated
composers of that tissue, and perhaps the first in rank, was
Orlando di Lasso, for he surpassed most of his contempo-
raries in the elements and the flow of the parts, and may be
regarded next to Palestrina as one of the greatest improvers
of vocal music. His madrigals are without the stiffness of
older writers, and full of melody. His abilities procured him
engagements in various countries, and after residing some
time at Antwerp, he went to Paris, from which he removed
to Munich, where he finally settled, having been appointed
chapel master and conductor of chorusscs to the Duke of
Bavaria. The following madrigal will give you some idea
of his skill. It was composed in the year 1680. [The ma-
drigal of " Ye nightingales so pleasant and so gay," was
sung with great effect.]

There is some difficulty in settling the derivation of the
word madrigal, and I am almost at a loss to define the differ-
ence between a madrigal and the other descriptions of vocal
harmony. A madrigal is in a composition in three or more,
but generally in fire parts, for voices only. Between the
madrigal and the glee there is this difference, that whereas
the latter is written for single voices, the effects of the former
are choral, and require for their proper development several
voices, I should say, the more the batter, fur each part. In
making this definition, I am well aware that I do not state
the concurrent opinion of glee writers on this point, for some
of them at the present time think differently. The sound
would satisfy me, but that resolves itself into a mere matter
of taste. I must justify myself by saying, that such a state
of taste as would enable one person to take a separate part
did not exist in the ages in which madrigals first were written.
If a singer could sing in time and tune it was all which would
be required of him. Madrigals were never printed in score,
but always in single parts. Every one of the singers had a
separate book, from which he sung, and this was the way in
which all the madrigals, whether English, Flemish, or Italian,
were printed at that time. Lastly, Nieto is the positive testi-
mony of Morley to this point, in his quaint and elaborate
treatise, which is well worth while to quote. This work is
the first elementary work on music written in English, or the
vernacular tongue, all the works before being written in Latin.
The work was printed in 1597, in folio, and is entitled
"An easie Introduction to Practical Musick." It is written in
the dialogue form, and begins thus, " Stay Brother Philo•
mathes, whither go you so fast ?" " I joy to see an old
friend of mine." " /3ut before you go, repeat to me the dis-
course you had at the party last night." , " Vesternight there
were a great number of scholars present, but the matter ills-
coursedopon was music." " I trust you werecontent to let
others talk upon that matter ?" " 1 would that were the
worst, for, as luck would have it, I was compelled to talk
upon it, and discover my own ignorance." " How so ?"
" Because Master Ephraim disagreeing with others, I was
applied to for the purpose of solving the difficulty, and was
thought discoutteous because I said that I was ignorant of the
matter; but after supper, music books, as was the custom,
being brought to the table, I was requested to sing ; one was
handed to me, and because I could not sing I heard it asked,
in pointed language, how I was brought up, therefore, for
shame of mw ignorance, I am now upon my way to seek a
master and learn to sing." This proves that at that period a
knowledge of tousle was general, that music books were
handed round, and that every one was expected to join in the
performanc6. The weight of the evidence being all on one
side, I have no hesitation in saying, that as glee singing is
the performance of a few for the gratification of the many, so
madrigal singing was intended to be a social act, in which the
number of voices was limited only by that of the persons ca-
pable of joining in their respective parts. The glee takes a
wider range, is subjected to rules less strict, but so insensibly
has one glided into the other that I am unable to show any
wider difference than that which I have given ; but I hope
that the specimens which I shall have the pleasure to submit
to vou will tell their own tale better than any imperfect defi-
nition. The finest performance of madrigals 1 have ever heard
was one evening at the London Madrigal Society, during the
time of the musical festival in Westminster Abbey., when a
large number of gentlemen horn the different choirs were
present, and there were, altogether, more than two hundred
singers in the room; and then, fur the first time, I heard the
full effect of madrigal singing, though the society had fre-
quently -sung the same pieces before with 50 or 1(X) voices.
Notwithstanding the great fame of Morley's works, it is
curious that we should be ignorant of where he was born, or
where he died; his works, however, will ever be regarded as
a most faithful record, and posterity will be best able to de-
cide upon its pretensions. His work upon music was, as
previously observed, the first ever published in England, and,
although it has long since been superseded by others of
greater knowledge, it may still be consulted with advantage
by the student.

Having thus traced the origin of madrigal writing in Italy,'
and its advancement in Flanders, it will be my next duty to
follow it to our own shores, and to shew the progress which
it made in England. When madrigals found their way to
England, the cultivation of music had made coniiderable
progress. '1 he plant was foreign, but the soil had been well
prepared for its reception; so that it quickly took root, and
flourished. Tallis, Dr. Tye, and Thomas Farrant followed
in the track of Palestrina. Talks may he called the father
of English composers. He enriched the Caihoiic service
during the reign of Mary with many fine pieces, and after-
wards produced sonic responses, which are still hoard on
high days and holidays in some of our cathedrals. There is
a simple grandeur in the style of Tallis, which, though not
intended for church service, has all the characteristics of
ecclesiastical writing. Tanis has left behind loin a work of
the most elaborate structure. It is a composition in no less

than forty parts, requiring no less than forty persons compe-
tent to sing at sight to sing it at all. It requires eight (af-
ferent choirs of five voices each, and the great skill which
the composer has shewn in bringing in these different choirs
is matter of great wonder, and, without the evidence of our
senses, we should wonder how the father of English musi-
cians could have produced such a composition. Many of the
grand compositions which are to be found in our church
are by him. You will see a great difference between the
composition with which I shall illustrate his style, and the
madrigals which have been just sung; but it was composed
anterior to the introduction of the Italian style of madrigal
writing into England. It was written in 1570. [The ma-
drigal was, "In going to my lowly bed," the performance of
which produced much applause.)
Another of the madrigal-writers of this age was John
Dowland, whose compositions are celebrated by Shakspeare.
Dowland visited Flanders, Germany, and Italy; and there
is extant an interesting letter which be received from Luca
Marenzio, in which the Italian speaks of the talents of his
English competitor in terms of the highest admiration.
From him, as well as from Giovanni Croce, Dowland de-
rived much musical knowledge. Probably Dowland was the
first English writer who enjoyed a continental reputation,
and although he regrets that his compositions had nut been
deemed worty of notice at home, he says that some part of
his poor labours had been printed in eight most famous cities
beyond the seas. His works ale thus spoken of by Dr. Bur-
ney, with that unwarrantable arrogance with which he always
spoke of the works of his own countrymen :—" Dowland's
knowledge of counterpoint was very scanty, and his fame is
only continued to him by the indulgence of those who have seen
his music." I shall not appear here this evening as one of
Dowland's advocates., but he shall come into court and an-
swer for himself. [The beautiful madrigal "Come again
sweet love," by that composer, was then sung, and the au-
dience testified their approbation by the most enthusiastic
applause.] I suspected, continued the lecturer, that our
countryman would be able to assert his claim to musical
honours, and still be entitled to wear the laurel around his
brow. The madrigal writers of England were regardless of
the true accentation of their music, but Dowland's music is
always an echo to the sense of his words. His madrigals
affect no display of learning, but are distinguished by an
agreeable arrangement of the parts. It was for some time
doubted whether English words could be adapted to Italian
compositions, and when Italian music was first printed in
this country in 1583, it was done by translating the Italian
words, and published under the title of "Musica transalpina,"
or music translated frum the Italian, for four, five, or six
voices, with the succeeding part of Virginella, "by Nicholas
Young, in favour of such as take a pleasure in the music of
voices." Mr. Young was a London merchant, who used to
import together with his silks, oils and other commodities of
Italy, what was then the fashionable Italian music of the
day, but finding that their being written in the Italian tongue,
(which was then not so much understood as it is now) hin-
dered the circulation of the compositions, he endeavoured to
put them into English. Of his taste I must speak in terms
of commendation, but his translation is the strangest jumble
of rhyme imaginable, being as nearly as possible literal. In-
deed, truth will compel us to say that his words are the most
senseless ever met with. The lecture was concluded by the
performance of the following madrigal, by Giovanni Croce,
"Cynthia, thy song and chanting." The effect ofthis madrigal
was truly delightful, and afforded a rich musical treat to the au-
dience, who appeared by their applause to be highly gratified
by the interesting lecture which they had heard.
The illustrations of to-morrow evening's lecture will be of
the highest order, and include some of the best specimens of
English vocal harmony. Mr. Walton, the excellent Man-
chester tenor, is engaged to give greater eclat to the occasion.
Mr. George Eyton presides at the piano-forte with great
skill, but occasionally allows the instrument to be predomi-
nant, instead of keeping it subservient to the voices, and to
lead, instead of accompany, the singers.