Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1891-12-13

Is the musical character of the classes Q
tunes named? The "good cid hymn tunes
and the good new, as welfare character
lied by simplicity of structure, dignity o
movement, pure melody, correct harmon,
and devotional spirit. The Gospel Hymns
are as a class (there are exceptions) char
aeterIzed al: by simplicity Of structure
dy, frequent bad harmony and
spirit that would never suggest devotion
ality to one unacquainted with the words
Their one merit is simplicity: their dis
tinguishing feature, rhythm. Their neares
relatives are the music of the Hottento
tom-tom, the lnspiriting swing of the mill
| tary march and the sensuous whirl of tn,
dance tune.
In other words, rhythm is the element il
music that most appeals to the physica
sense, sets the pulse throbbing and excite
the animal nature. Melody and harmony
on the other hand, stimulate the imagina
tion and intellect, upllft the soul and tent
to raise man above the level of mere anima
| existence.
Such being their musical characters ane
such the consequent effects upon the human
| organization, what use should be made Of
these two classes of tunes as aids to religioni
The use of the Gospel HYMNS" is obvioul
4IoLh tuCit IHGy nave SIOM III WV "
periods of great religious excitement, wheI
exceptional means have been employed tc
reach persons generally out of the churches
reach. They are of precisely the same
stripe as the various other exciters used by
the Salvation Army, and for religious
efforts of this kind these tunes certainly
have their uses. Possibly, also, they may
have place in revival meetings among the
slums, though there is small doubt that the
same ends could be better attained by purel
means.
But the use of such tunes in regular pub.
lie worship, where a reverential spirit-not
excited senses-is desired, shows q sadly
perverted notion of the fitness of things, to
say the least There is no apology for the
introduction of rubbish into the sanctuary,
when there exists an endless wealth OF
noble congregational tunes that contain
absolutely no element of musical or moral
offense and have, at the same time, SIM
pie strength that is within the easy COM
prehension of the veriest child.
But all the Gospel HYMNS" are not bad
Neither are all the old hymn tunes to be
considered good, simply because they have
been long and generally used in the
churches
In Union May Be Weakness.
Trades-unionisn in music has come to the
front again, and for some time the local
band and orchestral players have been once
more involved in open and active hostili-
ties. 1t was unfortunate that the exclusive
and easily abused policies of the trades
unions were early adopted by the
first musical union, the M. M.
P. o. The natural result was the aliena-
tion of nearly all the members of real artis-
tic standing, who organized by themselves
the second musical union, the A c. M. U,
in order to be free from these needless and
Objectionable restrictions
1t was still more unfortunate when tho
NJ. NJ. z. U. went to the length of allying
itself officially with the Federation Of
Labor, and thus, in some Sort obliged the
A. c. NJ. o. to arm itself in like manner
by an alliance with the knights of Labor
All these steps, as frequently pointed out
in these columns, were in the direction of
making music a trade, rather than an art
of overlooking the individual qualities Of
him who should be, or aspire to be, an
artist, and CHASING all musicians" together
on the same dead level, like so many labor
ers at so much head. The whole tendency
has been to lower the musical calling as
such and also to involve its followers in
useless and disastrous contention.
Experience of the resultant evils moved
the A. G. NJ. q. a short time ago to make
the formal proposition to the M. NJ. P. o.
that both of them sever their connection
with the trades nnions, and if they had to
keep up rivalry to do so upon higher
plane. But Ephraim was welded to his
idols and would not-chiefy, no doubt, be-
cause so many of the members of the NJ. NJ.
P. q. are themselves regular workers in
the trades by day (and thus of necessity ad-
herents of the trades unions) and "musi-
clans" only at night and at odd times.
Meantime the interests of the members of
both parties are suffering, and with them
the public suffers damage to its musical in
terests and no one can yet forsee the day of
Pittsburg's orchestral salvation.
~
Pat Gilmore Once Again.
The great public is chiefly interested for
this week in the return of the only Patrick
Sars6eld Gilmore and his superb military
Tuesday at the Auditorium. To the matinee
ell the theatrical professionals in
town are invited free and all
The solo singers will be Miss Emile
eOpIduO, MISS CCI0ee-
loch, contralto; Mr.. Clodio, tenor; Mr. Ed
ward O'Mahony, bass. OF the performance
of Gilmore's band it would be superfuous
to speak, and paragraphers in quest of
something new to say in this connection
have to fall back upon the interesting per-
sonality of the great bandmaster himself.
Many incidents in Gilmore's musical ca
reer where his Irish wit has come into play
are told of him, and O'Connor, the great
LAWYER and orator, said after q banquet
where Gilmore PLAYED some piece after
I oast was given out, that Gilmore's musical
speeches were the wittiest of the evening.
His playing "Wait Till the Clouds Roll
By" when marching through Wall
street, New York, while the panic
of 1873 was at its height, is
gladly remembered by many and is said to
have helped the return of confidence. He
played "Home, Sweet Home" at the
funeral of John Howard Payne. the
man who wrote 1t, but who never
in his life had practical knowledge of how
truthful his words were. Gilmore was
down Broadway at the head of
his regiment, playing quickstep, when a
funeral cortege wheeled in from q side
street. Instantly, as if by preconcerted
arrangement, the band changed to dirge,
and with slow step to solemn music the
r regiment marched by, and then as suddenly
the quickstep was resumed. Politics ran
high in Boston in 1859, and banners were
displayed everywhere. A company Of
young men passing the band headquarters
demanded that they 'show their colors."
and Gilmore got some one to letter a strip,
which was attached to the American flag
and flung out, reading. 1--WE Blow for All
Parties"