The San Francisco call., 1909-08-21

God of things that never die.
DIscord and dissonance, with the
fortissimo pedal pushed down to bed
rock, has added to the clang and clamor
surrounding the issue raised by Arthur
Fsrwen. composer and musician, when
he declared that the modern church
was no longer the medium OF the in
spirstion for musical masterpieces.
Clergyman and composer have in their
difference Of opinion produced a YER
liable cscophanicel crash OF thought.
Every composer who has taken a
hand in the argument was careful 10
explain, from the outset. that he diff
ferentiated between the church and
religion. The clergymen refused TO
accept the difference. The composers
were willing TO give to religion the
possession Of the divine spark which.
bresthed upon by genius. developed
TO the church, however-well, they drew
hack and hemmed and hawed and gen.
orally had their doubts
On one point were all the composers
agreed. That was that congregations
should not be allowed to Join in the
agreed to the contrary. The composers
argument was that, il through religion,
some genius had been inspired to weave
z beautiful composition, il was 10 rea-
son why il should be allowed to be
hutchered by the yowls of well mean
ing attendant who had been mlsin-
formed as TO the musical talent slum-
herring beneath his shirt front. The
clergy just as stoutly maintain that
music is the handmaiden of religion,
- A.
lcal chorus Of a sincere congregation
than the most perfect anthem of a few
trained musicians. The composers hold
that a man may be as devoted listening
and appreciating religious music as by
getting Up and spelling il.
As TO RELIGIOUS MUSIC
There arose the query as TO whether
the religious music was inspired by re-
ligion or the church. The clergy held
that it could not be otherwise. Handel
was made the pivot for this side bat
tie. On the one hand il was pointed
out that he took TO writing religious
music, not because he felt deeply re-
lgious, but because he needed rhe
money, having proved himself a fail
ure in the operstic line. The COM
posers showed how many of the won
ierful portions Of his pieces were first
written for the operate stage and later
interpolsted into his religious works.
The clergymen meet the argument
readily. declaring that for whatever
purpose 1t had been written, HandePs
music was dominated by religious
fervor. and for that reason perhaps
4 was not suited to the operatic stage.
Herman PerIet, the composer Of two
masses. several anthems and religious
solos and also of half a dozen bur
iesques. including such works as Miss
Philadelphia" The Dragoon's Daugh-
ter" and When Reuben Comes to
Town" was able. through his varied
accomplishments. to give an impartial
Judgment
UNDERTANDS POETIC FERVOR
Il can readily understand" he said,
the poetical fervor which made Far
well say what he did, and I agree with
him. While I admit that the church
has produced many wonderful works,
] am forced 70 admit also that most
of the music heard in churches now
is-piffle. A musician is undoubtedly
touched by religion. that is, religion
in its widest sense, but my opinion is
that the average man. walking into
the avera ge church today, leaves Il m.
impressed and terribly bored. 1t seems
10 have lost the faculty Of moving him.
In the place OF the grand old music
which once was heard within its doors
we are given lot OF jingles, built on
The lines of the comic song. and often
less meritorfous- A church service to-
day. with it's cheap refrains and very
often cheap and sensational sermons.
can not impress
Rev. David Evans said: The church
today offers the same source OF inspira-
tion to musicians as II did in the past.
True, I viii agree with the composers
IN declaring that the inspiration is Oft
times hidden beneath q mound of phar-
assicsl sham and hypocrisy, but II is
there. and he that hath ears to hear,
let him hear, and eyes 10 see. let him
see. Religious music must flow from
religious soul. Undoubtedly, the
musician wants to hear perfect music,
but the church would rather see the
perfect man, and for that reason I am
heartily in favor OF the congregation
Joining in the music. There is much
that is beautiful IN the church and
from this beauty let the musician draw
his inspiration
LOSE By CHEAP MUSIC
Rev. Cecil Marrack. rector of ST. Ste
phen's Episcopal church, held the same
views:
However = he added, Il have come to
the conclusion recently that the church
services could be bettered by better
music. We OF ST. Stephens have
therefore gone back to the music of
the past / admit with the composers
that the church has lost much Of its
dignity through cheap music and un-
worthy tactics. but 1 believe the pen-
dulum is swinging the other way and
that we are now on the verge of great
religious revival"
DIR. -. J. Stewart, another eminent
composer, while declaring that every
musician must be Influenced by re-
ligious sentiment, believed that Far
wells remarks were aimed at the music
Of the modern church and in that re-
spect fully agreed with him.
II has no inspiration, religious or
Otherwise" he said. Doctor Evans fe
rigBt in his remark that religion has
served rs the inspiration Of many Of
che greatest works In music. but unfor-
tunately such music is seldom heard in
our churches IT is OF q type which
FsrweIi or any good musician would
unhesi tatlngiy condemn. Under the
circumstances. what inspiration may 8
musician draw from the church,"
L. n. Eaton, organisf at Trinity Epis-
copal church. refuted Farweil. @I be-
iieve the true principle OF the church
IS a source Of inspiration 10 any artist" /"
ne said. III 2 clergyman debases or
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