Page:A Dictionary of Music and Musicians vol 2.djvu/669

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PART MUSIC.

��PART-SONG.

��657

��CLASS B.

�1. Sacred.

�I will always give thanks.

�God save the Queen.

�Be glad O ye righteous.

�Hallelujah. Boyce.

�2. Secular.

�Shew me Thy ways, ralestrina. Not unto us. Salieri.

�Child of the sun. Kreutzer.

�My shepherd Is the Lord (Ps. 23). Come let us strive to join.

�Come, follow me. Danby. Come sprightly mirth. Hlltou.

�It Is a good and pleasant thing (Ps. 92).

�Dear pity. Wllbye. Fugatu from Les Solfeges d 1 Italia.

�Lord dismiss us.

�Gentle moon. Do.

�O Absalom my son. C. King. Servants of God. C. Dai-bice.

�Go. gentle breezes. Do. Hail green fields and shady woods.

�From everlasting. Webbe. Hear my crying. Palestrlna. Jehovah. Thou my maker art

�Dr. Greene. Heigh ho. to the greenwood. Byrd. Hot cross buns. Atterbury.

�(Ps. 139).

�Huntsman, rest. Dr. Artie.

�Prostrate before Thee. Carafa.

�May-day. W. Horsley.

�O all ye works of the Lord.

�Frythee, do not chide me to.

�Stand up and bless. Immler.

�Mozart.

�He hath put down, ralestrina.

�Rule. Britannia. Dr. Arne.

�Benedictus. Chant.

�See, where the morning sun.

�My voice went up (Ps. 67).

�Mozart.

�Christ whose glory fills the skies.

�Solfeggio froml-es Sol ft'ges d'ltalle.

�Great God what do I. Luther.

�The flowers their buds. Mozart.

�The midnight cry. Glasse.

�The load stars. Shield.

�Be merciful. Jackson.

�The sunbeams streak. Pohlenz.

�Unto Thee God. Hayes.

�Though I soon must leave. Berg.

�Great God of hosts. Pleyel.

�Three blind mice.

�And His mercy, ralestrina.

�Weep o'er his tomb. Hayes.

�Thee will I love. Hofmelster.

�When the rosy morn appearing.

�sing unto God.

�Why do you sigh ? J. Bennett.

�CLASS C.

�Sacred. Secular.

�God save the Queen.

�The Smith. Kreutzer.

�Non nobls. W Byrd.

�Past twelve o'clock. Let's have ft

�Amen. Dr. Cooke.

�peal. Bow the boat.

�How blest the man (Ps.l).

�St. Martin's bells. Lldarti.

�Jerusalem. Jloselngrave.

�How exquisite the feeling. L. Do

�Sanctus. Jer. Clarke.

�Call.

�And now the sun's. Berner.

�Halcyon days. Dr. Cooke.

�My soul with patience (Ps. 130).

�With horns and hounds. Atter-

�Glory be to God on high. Boyce.

�bury.

�O God that madest. Hullah.

�Hal fan hour past twelve. Marella.

�Hallelujah (8 v.). Hayes.

�The war-cry Is sounding. Werner.

�Jehovah, O Jehovah. Spaeth.

�Come, come, all noble souls. Dr.

�Cantate (Chant).

�B. Rogers.

�In sleep's serene oblivion. Freck.

�Fairest Isle. Purcell.

�Gloria In Excelsis.

�To the old, long life. Webbe.

�O celebrate Jehovah's (Ps. 107).

�Clad In springtide beauty.

�Soft slumbers now. Hiller.

�When for the world's repose.

�Haste Thee O God. Cirri.

�Mornlngton.

�Heaven and earth.

�florae let us all. Hilton.

�He hath filled, ralestrina.

�How sweet In the woodlands.

�Lord how are they increased.

�Harrington.

�I will praise the Name. Hayes.

�Would you know my Celia's

�I will be glad. W. Byrd.

�charms? Webbe.

�O Thou, to whose all-searching.

�How sweet, how fresh ! Paxton.'

�Who are these like stars. Nfigell.

�Well done! Come let us sing!

�Draw nigh unto. 1'alestrina.

�Whitesand! Hot mutton pies 1

�Not unto us O Lord. Hayes.

�The cloud-capt towers. Stevens.

�Let hymns of praise.

�You gentlemen of England. Dr.

�Lord now we part. Bolle.

�Callcott.

�Make a joyful noise. Carlssiml.

�Rule Britannia. Arne.

�Glory to Thee my God this night.

�Yawning catch. Harrington.

��Class A was republished in 1868, in score and parts, under the editor's superintendence, by Messrs. Longmans, in a larger size though smaller type than before. A few of the original pieces were omitted, and the following were added, chiefly from Mr. Hullah 's ' Vocal Scores.'

��Sacred. Credo. Lottl. O remember. Haeser. Who is the king? (Canon). M'

Hurdle.

Like as the hart. B. Klein. Haste Thee God. ZIngarelli. O magnify the Lord. Spohr. To Thee my God. C. Vervoille. Methlnks 1 hear. Crotch. Praise the Lord (Canon). T.A.

Walmisler.

The Lord is King. Bolle. O Saviour of the world. Palestrlna. Jfor God Is the King (Canon)

E.J. Hopkins.

O Lord increase. 0. Gibbons. Tater noster. Homlllus.

VOL. II. FT. 12.

��Secular. Come lire with me. Stenidale

Bennett.

Music, when soft voices. Weber. Softly, softly, blow ye breezes.

Tieck.

Song should breathe. Hullah. See the chariot at hand. Horsley. Blender's ghost. M. Bock. Come follow me. O.May. Hall, blushing goddess. Paxton. Best sweet nymph. Pllklngton. Hark the hollow woods. J. 8.

Smith. When the toil of day. B.J.8.

Stevens. As It fell upon a day. Mornlngton.

��PART-SONG. (Ger. Mehrgtimmiges Lied; Fr. Chanson d parties.) A composition for at least three voices in harmony, and without ac- companiment. This definition must of course exclude many compositions frequently styled part- songs, and perhaps so named by their composers, but which would be better described under some other heading. For example, the two-part songs of Mendelssohn, Rubinstein, and other modern musicians (Zweistimmige Lieder) are, more pro- perly speaking, duets. [See DUET, TRIO, QUARTET.] The term 'part song' will here be employed ex- clusively as the proper signification of one of the three forms of secular unaccompanied choral music; the others being the madrigal and the glee. Unlike either of its companions, its etymology is plain and simple, being neither of obscure origin, as in the instance of the Madrigal, nor of mis- leading sense, as in that of the Glee.

Before proceeding to enquire into the origin and growth of the part-song, it will be as well to note the special characteristics by which it is distinguished from other forms of composition. The words to which the music is set may be either amatory, heroic, patriotic, didactic, or even quasi-sacred in character, e. g. Mendelssohn's ' Morgengebet ' (op. 48, no. 5), and ' Sonntags- morgen' (op. 77, no. i) ; this wide choice of sub- jects giving the composer scope for variety in his music which the somewhat rigid form of the com- position might otherwise seem to deny. Rhyming verse 1 is ail-but essential, and though the question of metre is to a certain extent an open one, iambics are employed in the vast majority of instances. The first requisite of the music is well-defined rhythm, and the second unyielding homophony. The phrases should be scarcely less measured and distinct than those of a Chorale, though of course in style the music may be lively or sedate, gay or pathetic. Tunefulness in the upper part or melody is desirable, and the attention should not be withdrawn by elaborate devices of an imitative or contrapuntal nature in the harmonic substruc- ture. It is obvious that if these principles are to be observed in the composition of a part-song and any wide divergence from them would invalidate the claim of a piece to the title it must, as a work of art, be considered as dis- tinctly inferior to either the madrigal or the glee. And it is worthy of surprise and perhaps of regret that while the forms of instrumental composition are constantly showing a tendency to move in the direction of increased elaboration, choral music should exhibit a decided retrogres- sion from the standard attained in the i6th and 1 7th centuries. It has even been observed by those who regard with some distrust, if not with actual dislike, the immense and ever-increasing influence of Germany in modern musical impulse, that the existing popularity of the part-song, in so far as it is detrimental to the interests of higher forms of vocal music, is one of the baneful products of this Teutonic supremacy. But the statement that the part-song is fundamentally

> Horace's Ode ' Integer vitse ' has been set by Flemmlng (Orpheus, S'o. 3), and ' Faune, Nympharum ' by Mr. Hullah.

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