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

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1. Sacred.

God save the Queen.
Hallelujah. Boyce.
Shew me Thy ways. Palestrina.
Not unto us. Salieri.
My shepherd is the Lord (Ps. 23).
Come let us strive to join.
It Is a good and pleasant thing (Ps. 92).
Lord dismiss us.
O Absalom my son. C. King.
Servants of God. C. Barbice.
From everlasting. Webbe.
Hear my crying. Palestrlna.
Jehovah, Thou my maker art (Ps. 139).
Prostrate before Thee. Carafa.
O all ye works of the Lord.
Stand up and bless. Immler.
He hath put down. Palestrina.
Benedictus. Chant.
My voice went up (Ps. 67).
Christ whose glory fills the skies.
Great God what do I. Luther.
The midnight cry. Glasse.
Be merciful. Jackson.
Unto Thee God. Hayes.
Great God of hosts. Pleyel.
And His mercy. Palestrina.
Thee will I love. Hofmeister.
O sing unto God.
I will always give thanks.
Be glad O ye righteous.

2. Secular.

Child of the sun. Kreutzer.
Come, follow me. Danby.
Come sprightly mirth. Hllton.
Dear pity. Wllbye.
Fugato from Les Solféges d'Italia.
Gentle moon. Do.
Go, gentle breezes. Do.
Hail green fields and shady woods. Dr. Greene.
Heigh ho, to the greenwood. Byrd.
Hot cross buns. Atterbury.
Huntsman, rest. Dr. Arne.
May-day. W. Horsley.
Prythee, do not chide me so. Mozart.
Rule, Britannia. Dr. Arne.
See, where the morning sun. Mozart.
Solfeggio from Les Solféges d'Italie.
The flowers their buds. Mozart.
The load stars. Shield.
The sunbeams streak. Pohlenz.
Though I soon must leave. Berg.
Three blind mice.
Weep o'er his tomb. Hayes.
When the rosy morn appearing.
Why do you sigh? J. Bennett.



God save the Queen.
Non nobis. W Byrd.
Amen. Dr. Cooke.
How blest the man (Ps. 1).
Jerusalem. Roseingrave.
Sanctus. Jer. Clarke.
And now the sun's. Berner.
My soul with patience (Ps. 130).
Glory be to God on high. Boyce.
O God that madest. Hullah.
Hallelujah (8 v.). Hayes.
Jehovah, O Jehovah. Spaeth.
Cantate (Chant).
In sleep's serene oblivion. Freck.
Gloria in Excelsis.
O celebrate Jehovah's (Ps. 107).
Soft slumbers now. Hiller.
Haste Thee O God. Cirri.
Heaven and earth.
He hath filled. Palestrina.
Lord how are they increased.
I will praise the Name. Hayes.
I will be glad. W. Byrd.
O Thou, to whose all-searching.
Who are these like stars. Nägeli.
Draw nigh unto. Palestrina.
Not unto us O Lord. Hayes.
Let hymns of praise.
Lord now we part. Rolle.
Make a joyful noise. Carissimi.
Glory to Thee my God this night.


The Smith. Kreutzer.
Past twelve o'clock. Let's have a peal. Row the boat.
St. Martin's bells. Lidarti.
How exquisite the feeling. L. De Call.
Halcyon days. Dr. Cooke.
With horns and hounds. Atterbury.
Half an hour past twelve. Marella.
The war-cry is sounding. Werner.
Come, come, all noble souls. Dr. B. Rogers.
Fairest Isle. Purcell.
To the old, long life. Webbe.
Clad in springtide beauty.
When for the world's repose. Mornington.
Come let us all. Hilton.
How sweet in the woodlands. Harrington.
Would you know my Celia's charms? Webbe.
How sweet, how fresh! Paxton.
Well done! Come let us sing! White sand! Hot mutton pies!
The cloud-capt towers. Stevens.
You gentlemen of England. Dr. Callcott.
Rule Britannia. Arne.
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.'


Credo. Lotti.
O remember. Haeser.
Who is the king? (Canon). McMurdle.
Like as the hart. B. Klein.
Haste Thee God. Zingarelli.
O magnify the Lord. Spohr.
To Thee my God. C. Vervoille.
Methlnks I hear. Crotch.
Praise the Lord (Canon). T.A. Walmisley.
The Lord is King. Rolle.
O Saviour of the world. Palestrina.
For God is the King (Canon). E.J. Hopkins.
O Lord increase. O. Gibbons.
Pater noster. Homillus.


Come live with me. Sterndale Bennett.
Music, when soft voices. Weber.
Softly, softly, blow ye breezes. Tieck.
Song should breathe. Hullah.
See the chariot at hand. Horsley.
Slender's ghost. M. Bock.
Come follow me. O. May.
Hail, blushing goddess. Paxton.
Best sweet nymph. Pilkington.
Hark the hollow woods. J. S. Smith.
When the toil of day. R. J. S. Stevens.
As it fell upon a day. Mornington.

[ G. ]

PART-SONG. (Ger. Mehrstimmiges Lied; Fr. Chanson à parties.) A composition for at least three voices in harmony, and without accompaniment. 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 properly speaking, duets. [See Duet, Trio, Quartet.] The term 'part song' will here be employed exclusively 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 misleading 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 'Sonntagsmorgen' (op. 77, no. 1); this wide choice of subjects giving the composer scope for variety in his music which the somewhat rigid form of the composition might otherwise seem to deny. Rhyming verse[1] is all-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 substructure. 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 distinctly 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 retrogression from the standard attained in the 16th and 17th 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

  1. Horace's Ode 'Integer vitæ' has been set by Flemming (Orpheus, No. 3), and 'Faune, Nympharum' by Mr. Hullah.