CHURCH MUSIC.

New Zealand Graphic, Volume XXV, Issue XV, 13 October 1900, Page 673

CHURCH MUSIC.

Dk. W. E. Thomas Gives an Interesting Lecture ou the “ Growth of Anglican Services.

At the Anglican Church conversazione at the Choral Hull, Auckland, Dr. W. K. Thomas, the new conductor of the Auckland Uhoral Society and Professor of Music ul Auckland University College, gave a most interesting lecture on the “Growth of Anglican Services."

Sacred music had liecn slowly but surely spreading its influence in Britain. in services dedicated to the true God, two or three centuries before the time of S. Augustine, who, as we know, set foot on English soil 597 A.D. Historians have proved beyond a doubt that a regular Church in Britain was in existence 150 years or more preceding the Saxou period. Tertullian says: “As early as 203 A.D. there were Christians in Britain." Origen, writing about 240 A.D, says that Christianity was firmly established in Britain; and a clergyman, of course a native, of the name of Amphibalus is mentioned. The Bishops of York, London, and Usk, at the commencement of the fourth century, preached Christianity, which first reached Britain possibly through St. Joseph of Arimathea, or one of the eye-witnesses of the Crucifixion.

Tennyson, in the Holy Grail, says —

“From our old books I know That Joseph came of old to Giaston bury."

Naturally the musical portion of the services of the Church at the commencement must have been veryslender indeed, probably an early Christian chant, sung antiphonally. as the Hebrews invariably sang, thus forecasting the beautiful and stately double choir, or decani and cantoris effects of later church music.

In all probability it was restricted to vocal music alone, for although the Christians of Alexandria (ISO A.D.) introduced a flute during the singing of the Last Supper Chant, orchestral accompaniments in religious services would the more have attracted and incensed the enemies of the new religion in Britain.

In the second century holy men thought of such a service, music as could be generally adopted in the churches. Britain greatly shared in this, and as the churches. were built on a larger scale, the simple music of early times probably made way for more advanced singing by trained voices. In 367 A.D. the Laodicean Council issued a. canon to this effect: ‘“That none but the eanons and choir who sing out-of the parchment books should presume to sing in the church." This seems to show that more elaborate music was done, and that the congregation were asked not to join in for fear of spoiling the effect of the music!

Nowhere did early sacred music find more scope than in Britain. People had become wealthy and cultivated, nnd it is not to be supposed that, they would content themselves with anything short hearty service of song, if not of instrumental music.

It is well known that elaborate music, and that of a gorgeous character (anticipating the vocal part of the Boman ritual as ordered now) was performed. It is only natural to suppose that people with a distinct musical character, who made the practice of the art a part of their daily life, would be disposed to give of their very best in the way of music for the sanctuary. There could easily have been a united effort in choral song, consisting largely of unisonal singing, varied bv outbursts of harmony.

Such a polyphonony would have been quite as possible then as now. . . . . London, even in the sixth century, is spoken of as being “crowded with merchants,” and we must- naturally suppose t hat where riches abounded music would also abound, and not only secular, but sacred. It is impossible to imagine that such functions as the baptism of the Kings of Dublin and Munster, which ceremony St. Patrick himself performed, could have taken plane without praise, and you cannot have praise without music; nor is it conceivable that music would fail to lie a feature at the reguJar services, and especially u-t the coaQrmnUvhs. . • --

Historical records give us evidence respecting early sacred music resources. The Roman Breviary tells us that St. Patrick, Bishop of Ireland (420 —492) was accustomed to perform daily the whole Psalter, together with Canticles and Hymns. 1 wonder what our choir boys would say to that? After S. Augustine landed in England, history tells us that a conference was held at a spot in Worcestershire, under an oak. since cherished as St. Augustine's oak. Our forefathers built the British churches, and we may be sure as religiously provided some kind of music for the services. The ancient British Church must indeed have been a grander reality than any historian has ever painted it.

In 374 A.D. the music school of Milan was opened, and St. Ambrose presided over it. We have doubtless all heard of the Ambrosian “Te Deuni." Well, St. Ambrose introduced it in the latter part of the. fourth century. The style of the chanting ordered by St. Ambrose had the great merit of being at once simple and grand.

ORGAN INTRODUCED INTO THE SERVICES OF THE CHURCH IN 666 BY POPE VITALIAN.

The service of prayer and praise was the means of getting a real hold on the people. Gregorian music, as its name implies, was revised, not invented, as some suppose, by Pope Gregory, and all music of this style is called after him. The real origin of Gregorians will, I suppose, never be known; it is supposed that the music in the Temple of Jerusalem was always sung to Gregorian tones, and that even King David himself sung the Psalms to these venerable church tones. This style of Church music has been used up to the present day, in a great many cases, certainly it has been elaborated, still there Is no mistaking the solemn tones of the Church for any other modern style of music. It has always and will always stand out very prominently, and e'an never lose its dignified character. Gregorian music is only written in one part, ami every body should sing it in unison, harmonisation of the old church modes, though they sound very welt indeed to our ear, should not be generally insisted upon. If only we could hear more of this grand old music, we should soon lose our prejudices, and like it. It is essentially music for the church, and would mark a grand difference between sacred and secular music.

The Anglican chant is an outcome of the old Gregorian tones; it arose through the rage for turning everything into metre. At the lime of the reformation Gregorian chants were still in existence, till lighter tastes in music lessened the hold the ancient tones had on the people, and it was found necessary to compose new treble chants, with more variety. Some of the chants of Farrant, .Blow and Croft are excellent Compositions, but, as usual, it was not enough, so double chants, pretty melodies, had to he invented, these gradually supplanting I he old dignified church tones. The Gregorian period teemed with "flighty” chants, single and double, many of which are neither reverent nor beautiful. Still many charming chants are in existence, and if we have any taste in music we shall very soon be able to sift the good from the bad. I would give one word of advice in choosing chants for the Psalms. Don’t let them be too florid; don’t let them be too high; don't always give the preference to the major ones. We have a great number of clergymen in England—-no doubt you have the same kind of men here—who advocate as simple music as possible for the Church. Now, I don’t want to say anything unkind about them, but 1 would put this before you: If you are going to a concert a musical evening, we will say, would you be satisfied at hearing a. five-finger exercise or a scale? Yoh will say at once, “No, certainly not.” Why, then, when you go to church, should you be bound down to a few simple chants, and the easiest of hum-drum hymn tunes, no anthems to speak of. nothing, in faet, to elevate your tastes and educate you up to butler things. To these

clergy I would say: You are doing the very worst for our ehurcti music; you are stopping the growth of that which should become the most beautiful of all, namely, music offered to the Supreme Beiug. Someone, perhaps, mflhy, will say how can congregations join in in music that is far above them? I will say, how can congregations ever do so at all if you don't educate them? Let them hear the best that can be procured; organise congregational practices for psalms and hymns; let them listen to ;ui anthem well sung. There is a greater power in music than in the most elaborate sermon, nnd I know the good is more lasting. The clergy who advocate the simplest and, shall we say, miserable services must not be surprised when their congregations fall Off. 1 should advocate myself the niusie of the very best, but don't, perform anything until it is well done. Don’t take it into church with only a small amount of preparation. Be sure of your ground before taking it into nublic.

1 have left until last the most important tiling that I have to say. and that is with reference to the music for the Holy Communion. 1 should like to see in every church here in New Zealand a greater amount of trouble taken in the music, and instead of its being put in the background, should like to sec it brought more prominently forward and really made the most musically ornate of all the services on the Sunday. In England thousands and thousands of churches have their choral celebrations, and I have always found that the congregations were always the most numerous at these services; and, moreover, the offertories were considerably larger than at the. other services. It has always seemed to me curious that the Kyries and Creed are the only parts that have attention at present in most of our churches here. Why should not the Sanetus and Gloria in Exeelsis have a thought musically in the rendering of the service? Some might think, perhaps, that it would make the Holy Communion office too long. They don’t think so in England. If, however, it is a few minutes longer to sing tlie whole service, is it not worth the extra time and trouble that the Sanetus and Gloria entail? For, surely, the Holy Communion is the most beautiful of all our services. Il has been my good fortune for the pasl thirteen years to play a choral celebration every Sunday and another on all saints' days, and during that time I have never known there to be a

sparse attendance. At St. Clenieut's, Bournemouth, where I was organist and C.M. before coming, here the H.C. Service was so crowded that, sometimes on festivals there was not even standing room in the. church, and quite 100 people had to go away, for they could not get past the. church porch. This will give you an idea how the choral Communion service, is appreciated in England. Would it hoi be. possible to start a- choral Communion and sing every part, in tlx 1 service. Sanetus and Gloria included? It takes under the hour (with no sermon) with four hymns included and the Nunc Dimittis at the end as a recessional.