The daily dispatch. [volume] (Richmond [Va.]) 1850-1884, 1879-03-25
Church Music.

Mrs. a. Is. Blake thus writes IN UdTPe7'
.Naq:zzine for April:
Clereymcn should draw their choirs near
er to sheGa, not only spiritually but bodily.
The functions OF praise aud prayer are so
intimately related that they should be per-
yaded by precisely similar spirit. SO lar
as practicable, therefore, the organ and
choir should be drawn nearer TO the altar,
that they may the better feel its holy in
fluence. The minister should concern him-
self actively in what ms choir does; but to
do this effectively it is OF the first import
ance that Ike should he Il musician; other
wise his interference, guided only by igno.
rance, would be worse than useless, and
breed nothing but ill-will. So we are
brought back 20 this foundation on which
Enforcement in church music must rest
the education Of the minister himself in that
art. it is unhappily true that theoioSianS
do not show a strong liking for music
They certainly haze not that reverence FOR
the art which would lead them to make it
4 part OF The theological course at the semi
naries. The divinity students are kept we'll
down to their Hebrew and Greek, and the
excgesis Of the hard thinkers and logiciauS
OF the Church. OF even the. traditions OF
the art OF music they are kept profoundly
ignorant; OF the subtitle power it has over
the souls OF men, more potent t!an all the
doctrines OF the school-men, no hint Is gwen
them. And yet through all their lives OF
mnlstration these young men are to stand
in the very closest relations with that art.
1t is the left hand Of their ministry, If PRAYER
and sermon be the right hand. It's subtle
influences are to peryade everything they
arc brought into relationship with in the
Church; its ethereal power is everywhere;
1t is the most potent arm for enuearinS the
disciples of The Church; it reaches every
class, md through one OF The swiItest ave-
nues of approach. The musical senSlbill-
ties, rightly used. would be the most potent
ally or the priest in every ministration, and
vet il is almost entirely neglected. The
Young priest may construe the prophecies
in the original, but to discriminate between
a major and q minor chord is absolutely be-
yond his power. Through life he is to he
the yassal OF his organist in all matters OF
musical judgement, not having knowledge
sufficient to combat the possible vicious
taste and bad influence of that player.
And vet Fletcher OF Saltoun was immortal
lied through once saying, LET me make
the songs Ut people, and care not who
makes their laws" This was so universally
recognized as q truth that Flctchers words
passed into IN aphoriSm among nations.
Yet the Church is willing to let anybody
make its music, so long as 1t can make It's
own laws and crceds. And the conse-
auence OF this error is the deplorable con-
,litiou in which we now find our church
music.
England has set us better example.
For the last century her best composers
have contributed their most Jealous work
to the Church OF England. Blow, Boyce,
Purcell, Arne, Atwood, Crotch, and in our
own day Sir John GoSs, Sir Gore Ouse-
Sullivan, Joseph Barnby, E!vey, and
Smart have written most noble, beautiful,
and appropriate church music. If in
remote country villages this music
he found to test too severely the capacities
of the organist and the singers, there is an
other exDedicnt and far better one than
the indifferent singing OF badly-organized
choir, and that is to train the children to
take an important part IN the service. They
learn readily; they enter into such services
with ardor. Those 0? them possessing good
voices would readily master the simpler
chants and responses, and many country
church at the end OF a year might DC in pos
session of beautiful boy and girl choir,
singing with that seXless purity OF tone Pc
cullar to children'S voices.
Another suggestion for improved church
music in out-of-town churches may he found
in that most admirable OF books upon this
subject, ThibautS Purity IN Musical Art.
/. Although written more than fifty years ago,
it isas pertinent and applicable to the church
musical needs Of our days as to those of his
own. He suggests freer use Of the chorale,
or OF hymns arranged in four parts to be sung
by the congregation, or sung in unison with
adequate organ accompaniment, filling out
the harmonies, and thus both people and
priest would, with united effort, offer up
their spontaneous musical voice Of praise.
He makes it strong point that the attain
ment Of such a result would greatly pro-
mote musical harmony and call forth the
powers of the individual members OF the
congregation"