Instrumental performers are by no means free from similar imputations. How often have I heard the inimitable Lindley, whose accompaniments display the most refined taste, and whose instrument sings as delightfully as any vocalist of the day-how often have I heard him suddenly rush from the bottom to the top of its compass, with the utmost velocity, execute rapid arpeggios, tenths, triplets, &c. &c. with all the wondrous power of hand he possesses, especially at the close of such songs as Gentle airs, Alexis, O Liberty, &c. What possible defence, I would ask, can be urged in vindication of such a total want of judgment? After enrapturing an audience, and fairly dividing the palm with the singer, how extraordinary it is that a man of his exquisite feeling and taste should be so led away by the desire of display. To such compositions as his concertos these species of cadenzas are perfectly applicable; how little suited then to Gentle airs. The beauty of a musical performance, and the impression which it is intended to produce, whether vocal or instrumental, depends entirely upon the fitness of the sounds to express the passion to be conveyed. The feelings of sympathy which these sounds are meant to call up, rest upon the similitude they bear to the idea which nature has formed in our minds of the passion itself; and unless the feeling is really excited, the imagination cannot seize upon the illusion which is to be kept up, and the impression is therefore imperfect. A song or a solo, whether an accompaniment or not, requires the same unity of character that we expect from a landscape, or from a poetical composition. If contrast is necessary, the strength of it must be adapted to the nature of the subject, since the introduction of any thing not fitted to the scene, or to the peculiar expression which it is intended to excite, is the annihilation of that unity of character, of that keeping, upon which the effect of the performance or of the picture depends. The true end of any deviation from the plain straight forward intention is to heighten the effect; and therefore the first point to be considered in the introduction of such contrast is its fitness to the subject. Crowds of ornament in a song, &c. only serve in such cases to exhibit the skill of the performer, and to dazzle and deceive the good taste of the audience, and to weaken the effect of the composition. If this be the fact, how can it be supposed that ornaments so totally unadapted to the style of the

piece can keep up the effect?

From an instrumentalist, as it

appears to me, is required even more attention than from a vocalist upon the point of ornament of any kind. A vocalist possesses, in aid of the expression which the music is to convey, the powerful assistance of language, and thus less is left for the imagination to supply. If a singer fails to convey the true expression, the words remain to fill up the void thus occasioned, and the audience can follow him without any stress of mind, and with facility, through the composition. The instrumentalist has, on the contrary, no help of this kind, to which he can look for support. If he fails in the expression, he leaves a blank in the story he is relating, which cannot be filled up, and mars the effect of the composition and of the performance. It is therefore necessary that an instrumentalist should cultivate the higher branches of his art, since he is dependent upon his own powers alone for support. He ought to look upon himself as a vocalist, for he is one without speech; and as such, study to give himself the power of making his expression understood. It is this circumstance that renders the substitution of execution in the place of expression by instrumentalists (if I may so express myself) so prominent. We are aided throughout the song by the words, which convey in some measure the passion to be expressed, and at their termination the illusion is lost, if the instrumentalist is unable, or does not take the feeling up and carry it on. Upon this ground I must think, Sir, that sudden and rapid codas are not only most inappropriate, but generally in opposition to the feelings of an audience; and I own I wish wholly and completely to banish the cadenza, both from our singers and from the instrumentalists who accompany them.

I am Sir, your's truly,

R. N.

ORGANISTS, VOLUNTARIES, AND PSALM-TUNE SINGING.

SIR,

TO THE EDITOR.

THAT the excellent service of our church does not derive all the aid from music, which music is capable of affording, must be clear to every one, who understands the subject, and who bestows the least attention upon it. This fact however has been so completely established by your Correspondent, "An Observer," that it is unnecessary for me to add one word to his statements and reasoning.

But, as his observations are of a general nature, and relate, principally, to vocal music, I shall venture to intrude on you, with some remarks on our organists and the mode in which many of them conduct that portion of the sacred office which is entrusted to their care. This subject, which embraces all that concerns the instrumental performance allowed in our churches, is worthy of the gravest consideration; for if, on one hand, piety may be exalted, and the holy cause of religion advanced, by a judicious use of that noble instrument, the tones of which mingle with our supplications and praises, so, on the other hand, feelings altogether remote from humility and devotion, may be excited by its abuse. On this account, I have often beheld, with grief and astonishment, the little caution which has been employed in electing persons to fulfil the very important situations of parochial organists. A good moral character, a religious disposition of mind, and well cultivated talents, should be strictly required in every one who presents himself for such an office. But are not these qualifications, Sir, very often disregarded? And do we not perpetually find that a candidate is chosen, because he has powerful friends in a parish; or to favour the views of some particular party; or, not unfrequently, because he is maimed, or halt, or blind, and must have a provision. Here let me not be misunderstood. Such persons, as I have last alluded to, are en

titled to our tenderest compassion, and to all the assistance which we have it in our power to afford. But their infirmities do NOT give them a claim to situations in which they may do infinite harm, by rendering the musical portion of our public worship, uninteresting, if not ridiculous.

There is, however, a class of organists, differing widely from these, whose conduct is deserving of very severe reproof. I mean those who, endowed with great natural powers, and a possession of all the resources which science affords, think only of themselves, when they should only think of their duty; and, instead of inspiring our congregations with the flame of devotion, inspire the sensible part of them, with disgust. Complaints, on this head, have been made at all times: more than a century ago, Bedford, in his work entitled "The Great Abuse of Musick," thus expresses himself:-" It is lamentable to consider, that when a man comes to church for the good of his soul, in hopes that every thing there shall increase his devotion, the musick serves only to increase his distraction; and he can scarcely ever hear any thing from the finger of the organist, which tends to gravity and sobriety; but a wanton light air, as if designed to spoil the endeavours of the minister in all the offices of our excellent church, and banish from the house of God every serious thought."

This is the language of an intrepid assailant of the "light and wanton" style of church playing which prevailed in his day, and, a little further on, he says-" If any one complains of this abuse to the parishioners, their answer is, that they do not understand it, (and who does, as it is now managed?) I know not any sober person, who can understand any thing in it, except a jargon of confusion, without head or tail, including all the keys of the gamut in a promiscuous manner, without any cadence or connexion, intermixed sometimes, with a wanton airy fancy, and at others with a heavy sordid performance, and all this occasioned by extempore maggots in all the voluntaries and interludes, whilst the man is conceited of his own parts, because no one else understands what he would be at, and scorns to practice such things as are tried and approved of by the best masters." The italics, and the punctuation, will shew, that I have transcribed honest Arthur most literally.

At this present, we often hear observations nearly resembling

16 these; and complaints of this irreverent style of one great performer have even found their way into a popular journal. How far such complaints are just I am unable to say-never having had an opportunity of hearing Mr. Adams, but they have determined me without loss of time to submit for your consideration, a few remarks on the subjects of voluntaries, and psalm tune playing. I am unable to state at what period, the first voluntary, as it is called, was introduced; but this is of no consequence, and every one understands by the term, that performance on the organ, which takes place generally when the psalms for the day are concluded, in order to give a little breathing time to the officiating minister.

ORGANISTS, VOLUNTARIES, AND PSALM-TUNE SINGING.

Now, if we recollect in what manner the minister and people have been previously employed, we shall be at no loss to say, what ought to be the duty of the organist on the occasion. And what have the minister and the sincerely devout part of his flock been doing? They have been making "their humble confession to Almighty God, meekly kneeling upon their knees." They have bowed down their heads before the "High and Lofty One," acknowledging, and bewailing, their manifold sins and offences; entreating pardon for the past, and divine power to help them for the future. And is it at such a time, that the whole current of religious thought is to be driven back and broken by a frivolous person who sits at the organ to show off his own invention and conceits, rather than endeavour to promote God's glory? If such conduct were not very wicked, would not the excessive vanity which it indicates be very ridiculous? How monstrous it is for a poor worm to suppose, that, when his fellow mortals are occupied, as they ought to be, in the temple of God, they can have a thought to bestow on the brilliancy of his touch, the liveliness of his fancy, or the display of his skill in modulations. And let him think-if he be capable of thought-on the mischief which he occasions, by improper attempts at display. He disturbs the good; he diverts the attention of the careless worshipper; and he gives an air of levity to the most solemn occupation in which man can engage. That the attention of musicians has not been properly directed to this part of the service, may be proved by the voluntaries which they have published, from time to time. Of these, none have been more popular than Stanley's; but, for the most