REVIEWS.

"Six Songs, with English and German words," (Op. 2) C. A. BARRY, M.A. (Ewer and Co). There is very decided merit in all these songs, and some few traits of originality. To begin with the most laboured and least genial (though by no means without good points); Heinrich Heine's ballad, "Du Schönes Fischermädchen" (No. 6), had been already set so well by Meyerbeer, that Mr. Barry would have done wisely, in this instance, to choose some other text. Compare the two melodies. Mr. Barry sets out as follows:

No. 5-" Lebewohl" (poet unnamed)-although strongly tinged with the Mendelssohnian feeling, is lovely from end to end; but as really every bar is more or less worthy praise, we must abandon any idea of quoting examples. It is long since we have seen so much to admire in a new set of songs. "The Worcestershire Rifles' March"-for the pianoforteMATTHIAS VON HOLST (Boosey and Sons)-is inscribed to the "Volunteer Corps of the City and County." Why did not Herr von Holst begin (while about it) thus:

The reminiscence of the so-called clock-movement, in one of Haydn's symphonies, would, by the addition of the four semiquavers in bar 2, have been still more frank and genuine. The best part of this march is the trio, in the dominantpages 4 and 5.

"La Nadiejda, polka gracieuse"-for the pianoforteMATTHIAS VON HOLST (Cramer and Co., Boosey and Sons, and Mills). This is an extremely graceful and well-written piece from end to end, and none the worse for the tendency it occasionally exhibits to Spohrish harmony. There is one passage, however, occuring several times, which we cannot admire:

ko - sen Hand in Hand.

Komm zu mir setz' dich nie der wir Which is the freshest, simplest and most genuine, our readers will not take long, we think, to decide. Mr. Barry has set the passage, "Leg' an mein Herz dein Kopfchen," beautifully-something, indeed, after the manner of Schubert. No. 1-"Nachtreise" ("night-journey")-words by Uhland-has a plaintive melody, from which (as from the harmony) the style of Schubert again peeps out. The alteration of melody and harmony in the last verse, is both happy and ingenious. No. 2-"Ich hab im Traum geweinet,' (poet not named), is charming from first to last-charming alike in harmony and expression. No. 3-"Des knaben Berglied" (poet not named)--is even more striking, the most original, perhaps, of the series; unless, perhaps, exception be made in favour of No. 4-"Du bist wie eine Blume" (poet unnamed), one feature of which is of the two-four and six-eight measures. There are some exquisite points in this little song; and, among others, the entire progression to the words" Betend das Gott dich erhalte so rein und schön und hold." A passage near the end is well worth quoting :

marc.

marked natural, and the effect is infinitely purer. On the repetition of this progression the D's are invariably

ST. PAUL'S CATHEDRAL. "PROPOSAL" FOR A 64 FEET ORGAN. highest commendation for the praiseworthy efforts they are making to THE present Dean and Chapter of St. Paul's are deserving of the embellish and furnish the interior of the cathedral church, and thus in some measure repair, not only the omissions and shortcomings of the niggard, arbitrary, and obstructive building commissioners, but the utter neglect of successive deans and chapters through the century at their disposal, uncontrolled by any other body), the noble edifice to and a half that has intervened, in allowing (whilst having vast funds continue the mere shell it has done up to this day. But to decorate the interior of St. Paul's in a manner suitable to the character of the edifice and becoming to its position as the Metropolitan Cathedral of to do it no small task is before them, and I say God-speed to their the British Isles-and subscription the only source of the wherewith

purpose.

In a former paper (Musical World, December 17th), I mentioned the circumstance of the gratifying announcement that the old organ had been made one of the earliest matters of solicitude by the chapter, a thousand pounds-or perhaps fifteen hundred pounds of their already subscribed funds having been resolved to be expended in renewals of certain worn out portions of old Father Smith's work, and augmenting the powers of the instrument by the addition of much other new. But the same announcement conveyed the intelligence that the recently oft-repeated cause, Architects versus Cathedral Organ Screens, had also been argued here, and decision given on the plaintiff's side, consequent on which verdict the organ is, after all, to be sacrificed by being cleared away from its own admirable position, and stuck up in a place out of sight, where, from the massy dead walls with

which it will be hemmed in, it can produce but very poor effect-in the body of the Cathedral at least-however glorious an instrument Mr. Hill's work may leave it.

The screen still stands in its place, though the organ is taken down off it. And it would seem there exists in the chapter some hesitation as to the adherence to their verdict. There is also some talk of their getting another organ expressly for serving the dome and services. In the interim of this unsettlement of purpose, I would call attention to the circumstance of an old "proposal" for an organ for St. Paul's, which seems to me particularly àpropos to the present time.

The choir of St. Paul's was the first portion of the edifice that was finished; this was opened some ten years before the main building was completed. The first service was on the day of thanksgiving for the peace of Ryswick, December 2, 1697, and the present organ--the most celebrated work of the celebrated "Old Father Smith"'-was in its place, and used on that occasion. When afterwards the building of the main edifice was drawing towards a finish, and the body of the cathedral thrown open, it was intended that there should be a second organ in the church, and which was to stand in a loft on the parclose of the morning chapel (a little-known sanctuary in St. Paul's occupying the north-west angle of the building, approached by the north aisle, and in size about one-third that of the choir), and an organ was made for the purpose also by Father Smith, but from some cause or other the design was not carried out, and the instrument went to Trinity Church, Hull, where it still is. It would appear that Renatus Harris, better known as "René Harris"-perhaps the most original genius in the organ-making line that ever practised the art in this country, contemporary with, and ultimately the rival of the aforesaid Father Smith, was a candidate for employment on this occasion. His proposition was to construct an instrument for St. Paul's that should in appearance be on a scale in keeping with the vast and glorious building itself, and of power sufficient to resound throughout the whole of the cathedral. Some particulars of the circumstance is handed down to us by a paper in the Spectator of the time (No. 552) by Mr. Steele, purporting to be a "recommendation of a proposal by Renatus Harris, organ builder," wherein are these words:"The ambition of the artificer is to erect an organ in St. Paul's Cathedral over the west door, at the entrance into the body of the church, which in art and magnificence shall transcend any work of the kind ever before invented. The proposal in perspicuous language sets forth the honour and advantage such a performance would be to the British name, as well that it would apply the power of sounds in a manner more amazingly forcible than perhaps has yet been known, and, I am sure, to an end much more worthy. Had the vast sums which have been laid out upon operas without skill or conduct, and to no other purpose but to suspend or vitiate our understandings, been disposed this way, we should now, perhaps, have an engine so formed as to strike the minds of half the people at once in a place of worship with a forgetfulness of present care and calamity, and a hope of endless rapture, joy and hallelujah hereafter."

René Harris, doubtless, had in view a 32-feet organ-at the period a thing wholly unknown in England; and the expressions made use of in "the recommendation" would seem also to imply that something in the way of our modern tuba work was contemplated. But 32-feet organs have since that epoch become common, not only on the Continent, but in England also: hence a work that is at this day to "transcend any work of that kind ever before invented"-realising the spirit of René Harris's proposal-must be constructed on the 64-feet scalesuch scale never having been (practically, at least) attempted.

It occurred to me that there was much in this "proposal" that renders a revival of the project at this time worthy of serious consideration, and the object of the following is an endeavour to show that the measure is practicable, and, accomplished, would be useful, and pay."

Trinity Church, Kingston-upon-Hull, is the high church of that seaport. It is a large crucifixion structure with massive tower rising from the intersection of the cross, and is a genuine example of the decorated style of early English architecture. The organ above referred to was set up in the Church in 1808, in a fine carved oak case of four front towers, same design as the beautiful instrument of Whitehall Chapel. All the fluework of Father Smith still remains. The reeds (very fine ones) were by George England about fifty years ago. At a recent repair of the instrument considerable alterations were made in it, and at the same time the original beautiful oak case was removed, and a paltry deal one of mock Gothic design substituted. The old case is now in the church of Seulcotes in that town, where it encloses a new organ.

The great cathedrals of the Continent are generally supplied with at least two organs," one for the accompaniment of the ordinary services of the choir, and the other a larger one (usually situated at the west end of the nave) for use on special occasions only. This is just how it should be at St. Paul's; and what a grand position the western end of the nave there presents for the erection of an extraordinary work of the kind! How a loft may be erected for the reception of an organ, at a height of eighteen feet from the floor of the church (that is ob. taining three feet more of headway for passage underneath than is under the old screen through which the choir is entered), having a clear height thence to the vaulting of the nave of seventy feet sufficient for taking the pipe of the 64-feet register. Nor need the erection interfere with the light of the great west window, for such an arrangement in the "planting" of the pipes in the interior of the instrument might be observed-the design of the exterior case being made to partake in its form of the same-as would not only allow of the view of all the chief existing architectural features of the building being preserved, but also of the great window being seen through the structure of the organ. A successful example of which arrangement exists in that grandest of all organ works, the abbey church of Weingarten in Ger many. And this provision in the form of the case would at the same time neutralise the effect of an apparent shortening of the nave of the church which the advance of the body of the instrument, some thirty feet as its length, might be supposed to cause to the detriment of the symmetrical proportions of this limb of the church. An organ of the magnitude here implied, set in a case of artistic form, with florid adornment in keeping with the architecture of the building, presenting a front of towers composed in gigantic diapasons with intervening tiers of buffets tastefully worked in smaller pipes, would form a termination of the vista of the interior of the cathedral westward, grand and imposing, ornamenting and furnishing a part of the great church, now a mere wilderness. In order to economise space, the mechanism connected with the wind-of which steam, or perhaps the hydraulic apparatus should be the motive power-might all be placed in the vaults beneath the church, the pillars supporting the organ-loft to serve also for the wind trunks.

There are at least two annual music-meetings held at St. Paul's, each of really national character, viz., the Musical Festival of the Society of the Sons of the Clergy, and the annual gathering of the children of the London Parochial Schools, to both of which such an instrument would necessarily be an invaluable acquisition. The Musical Festival of the Sons of the Clergy, of 1855, was given on a greatly augmented scale in that year, in celebration of the second centenary anniversary of the institution of the society

I attended that performance, and observing that "old Father Smith," in order to bear up in the "tutti" against a chorus of the two hundred voices engaged on that occasion, had to be reinforced by the aid of a dozen or more of trumpets, trombones, and drums; and it occurring to me at the same time that monster exhibitions in the musical way had become established as the more publicly favoured performances of the day, I was forcibly reminded of this "proposal" of René Harris's, of a century and-a-half ago. And now that the subject of embellishing and furnishing the interior of St. Paul's is being considered, the advisability of embracing in that work Harris's "proposal," carried out in its integrity, is commended to notice as offering to supply at once a great want and a magnificent ornament. Although the old organ, with its pending improvements, may prove-as I doubt not it will-everything that can be desired for the use of the ordinary cathedral services, yet its powers will still be wholly inadequate to the requirements of the occasions above referred to, and this ekeing out an insufficient organ by appending thereto a number of trombones, trumpets, and drums, is a makeshift unseemly and out of character.

I think the majesty of the organ is degraded by the intrusion of such auxiliaries in church service. Without presuming a word in depreciation of the use of these and kindred instruments in the orchestral accompaniment of voices, I maintain that organ and voices alone, in church, are far more impressive.t

A choral service sung by such a choir as was collected on the occasion of the 1855 anniversary-the choral establishments of St. Paul's; the Chapel Royal, Westminster Abbey; St. George's, Windsor; and some

*St. Peter's, Rome, has four organs. Seville Cathedral seven, two of which are very large ones. St. Anthony's, Padua, four. Breslau Cathedral three, all very large.

In the opinion here expressed regarding the intrusion of instru ments of secular character on the organ in church service, I am supported by Mr. Mason, no mean authority.-See Mason's Essays on Church Music, pp. 71, 82.

eight or ten of the more adjacent provincial theatres-supported by the accompaniment of an organ of transcendent depth of tone and fulness of great register harmony, would-bearing in mind, too, at the same time, the choice nature for that particular purpose of the whole vocal material employed-be a celebration calculated to afford the lovers of our orthodox church service the most intense delight. And what an opportunity would then be afforded of producing at these performances, perhaps the most sublime and soul-stirring musical effect within the province of the "divine art" to achieve! That is by adopting the arrangement of a double quire, one with each organ, at opposite ends of the church, chanting the service antiphonally after the ancient manner of decani and cantorus sides, and culminating to a climax by both choirs joining together with the two organs in bursts of joyful exultation in the doxologies. Although the distance in the separation of the choirs will be great, yet the necessary precision in the performance could be insured by the precentor (conductor) being placed midway along the nave, elevated so as to be visible at once to each choir and its organist. This idea, of course, contemplates not only the erection of the new organ at the western end of the nave, but also the old organ being restored to its old place on the choir screen, or, as suggested in my former paper (Musical World, Dec. 17), organ and screen being set back to the line of the junction of the choir with the dome, that is about 25 feet west of the old position.

A grand sacred choral gathering like this, or even doubled as the choral band might be by making it to embrace all the cathedral establishments of the Kingdom, would recuscitate the musical portion of the Festival of the Sons of the Clergy, now fast expiring; changing the usually public exhibition at once to a performance in the last degree attractive. At the same time transferring the operations of the treasury department from an exhausted mine to new and more productive diggings, whence the corporation may become enriched with, possibly, several additional thousands a year, with which to extend its usefulness.*

There are two charitable societies under analogous names. The "Corporation of the Sons of the Clergy," and the "Society of the Festival of the Sons of the Clergy." They work in separate spheres, but to the same great charitable ends-viz., the affording of pecuniary aid to incapacitated clergymen, necessitous widows, and offspring of deceased clergymen, and the providing of educational grants and apprentice premiums. The first-named-the principal one-was established in 1678, and administers the funds of both, which amounts to about £3,800 per annum, arising from endowments, voluntary contributions, and the proceeds of the annual festival. The other society, though subsidiary to the last, is nevertheless the older one. It dates from 1655, when it was instituted for the benefit of those widows and orphans of the established clergy who had been reduced to indigence by the parliamentary sequestrations which were enforced against the clergy, consequent on the great rebellion. Its operation is merely to raise funds for the before-mentioned purposes, and consists in an anuual assemblage of the highest authorities in the church and state. When divine service is held (full choral, with additional music by a choir composed of the establishments of the Chapel Royal, Westminster Abbey, and St. Paul's), in the cathedral church of St. Paul, and a sermon preached, to which the public are admitted by free tickets from the stewards, but the persons who use them must present a donation at the door of entrance. At a certain door the donation is expected to be not less than gold; at other doors, not less than half-crowns, &c. In former times this may have yielded a good fund, but of late years this has much declined, the performance being now totally devoid of anything like public interest. The anniversaries passing over year after year, without anyone knowing anything of their occurrence, except that, perhaps, on "the day after the fair," when the newspaper notices of the performance tell that it has taken place.

In the year 1855-a year selected for example from no other reason but that of chance having brought the fact to the notice of the writer -the money taken at the doors amounted to only £119.

A dinner, however, after the service, at Merchant Tailors' Hall, appears to be much more productive. In these combined ways, something like £1,000 or £1,300 is annually added to the corporation funds. The stewards to the festival are expected to contribute at least thirty guineas (and which qualifies the donor for a governor of the corporation), out of these latter donations are paid the expenses of the musical performance, &c., so that the proceeds of the day is handed over to the corporation intact. Now it must be felt by all who will for a moment think on the matter, that the proceeds of the sacred musical performance-considering the importance of the charity, and the extent and influence of the interest that might be brought to bear to its furtherance and support, is extremely insignificant. And

Nor is it irrelevant to the matter under discussion, I think, to remark that by making these meetings the occasion of a grand annual ecclesiastical demonstration, the general interests of the church may be materially served.

As respects the other musical performance referred to-viz., the annual assemblage at St. Paul's of the London Parochial Schools, such an instrument would be brought into admirable use, and its utmost power not more than sufficient for the occasion. The psalmodic portion of this service, rendered by the myriad choir of sparkling infant voices-if the very peculiar effect of such a mass of shrill unisonous treble as the performance now presents were toned down and harmonised by the ponderous and mighty bass that would roll from such an organ, would, aided by the influence of a most imposing spectacle, produce an effect on an auditory impressive and wonderful beyond conception; and surely the power to draw this would create, might be turned to some account to the furtherance of the work the meetings are intended to promote.*

the question arises: could not much more be made of the performances by shaking off the antiquated proceedings by which they continue, year after year, to be silently conducted, and adopting instead a more business-like and enterprising procedure in the management, and so produce performances that will, of their own merit and due publicity, draw the public.

Out of these societies arose, in 1749, "The Incorporated Clergy Orphan Society," whose establishments are at St. John's Wood and Canterbury, and is still connected herewith, though separately worked.

This exhibition consists in the assemblage at St. Paul's of the children of the numerous parochial schools that are clothed and educated by charity. One first took place in 1782, and has been annually repeated ever since; the object being twofold, viz., to popularise the maintenance of charity schools, and to obtain funds for the assistance of the more necessitous schools attending. The picturesque aspect of some 7,000 or 8,000 children dispersed on raised platforms round the gigantic nave of the cathedral, the tiers of benches gradually elevated to more than half the height of the pillars upon which the dome reposesdecked out in party colours with banners to represent the various schools, from which they are sent as missionaries-the boys separated from the girls, and the whole mass arranged with an eye to symmetry and pleasing contrast, presents a spectacle the magnificent effect of which could not be matched throughout the world. In the central portion of the dome area and nave provision is made for the accommodation of an auditory of about 10,000 persons. Divine service is performed, and the children all join in the singing of the psalmodic portion of the service (in which they are previously well tutored in sections), and the effect of this combined song is most extraordinary. The immortal Haydn, visiting St. Paul's on the occasion of one of these gatherings, and hearing a "hymn" sung by the whole assemblage of children, was moved to tears, and declared that the simple and natural air had given him the greatest pleasure he had ever received from music.

This incident is drawn from Haydn's Diary while in England in 1791 and 1794. The "hymn" here alluded to is what is now known as Jones's double chant in D. Jones was at the time organist of St. Paul's, and the piece of music was composed by him expressly for the purpose, and the manner of its performance is thus described in a note by the Editor of the Diary. "The first strain (which it will be remembered is A, the reciting note descending afterwards by three stops, a 3rd twice, and a 4th to the octave below) was sung by the choir, accompanied by the organ, the 4,000 children assembled, and who were well instructed for the purpose, responded in the second portion; the third strain was then given in the manner of the first, and the fourth by the children in a similar way to the second: altogether producing an effect that baffles description, and which could not have failed to operate with extraordinary force on such strong religious feelings, united to such susceptibility of musical effect, as the great composer possessed." This remarkable exhibition is, however, now languishing for want of support, and likely soon to be discontinued altogether, unless something be started that will infuse fresh vigour, and bring new interest into them. Of late (probably excepting the last two years) the anniversaries have produced little or no funds for the schools; the whole receipts being usually swallowed up in the expenses, Take the 1855 meeting as an instance (a year selected for no other reason but that of the fact referred to, accidentally coming to the knowledge of the writer) the receipts were £390, which after defraying the expenses of the constructions, left a deficit, on account of the meeting, of £2 to be made by the stewards. It is rumoured that the dean and chapter have long been inimical to the cathedral being used for this exhibition, but can a more legitimate use of the Metropolitan Church be conceived ?

The erection of such an organ might involve an expenditure of £10,000. Where, it will be asked, are the funds to come from, since all the money that can be got for the cathedral is insufficient to do even a modicum of the contemplated works of embellishment to the exterior? If, however, it could be seen-and the thing is far from being without the range of possibility-that by the means just adverted to, the Corporation of the Sons of the Clergy might be enriched with an augmentation of income to something like £2,000 a year, the immediately raising a fund for the purpose of such work by special sub. scription might be matter worthy the consideration of that body, and little difficulty in the accomplishment, one might suppose, seeing that there are eighteen thousand clergymen in the kingdom; all interested (or ought to be, since the benefits of the charity are open to all), in the success of the society. The money so laid out would be, as it were, laying an endowment on the terms of a five years' purchase. One suggestion more in conclusion. The cathedral choirs being the primary material for the carrying on of such festivals, an additional annual performance might with advantage be given, and the proceeds appropriated in aid of a superannuation and widow and orphan fund for that much-neglected and ill-requited body, the lay-members of the

cathedral establishments.

55, Regent-street, Feb. 6th, 1860.

NEW ORGAN FOR MELLOR CHURCH.

(From a Correspondent.)

F. C.

ON Sunday (May 13th), three sermons were preached in St. Mary's Church, Mellor, those in the morning and afternoon by the Rev. J. Watson, M.A. (Rector of St. Peter's, Chester), and that in the evening by the Rev. J. P. Murphy, LL.B. (Chaplain to the Preston House of Correction), when the organ recently erected was opened with full cathedral service. Mr. J. Greaves, organist of the Preston parish church, presided at the organ, and the choir of the same church gave their assistance. On Monday ovening (May 14th), there was divine service, at halfpast six o'clock, when the Rev. D. F. Chapman, M.A. (curate of Preston) preached, and Mr. J. Walton, organist of Walton-ledale Church, presided at the organ. An efficient choir was in attendance, and a selection of sacred music performed.

After each sermon a collection was made to meet the deficiency in the organ fund, and towards defraying the expense of repairing and beautifying the church.

The new organ for Mellor Church, which has been so long talked of, was erected by Messrs. Kirkland and Jardine, organbuilders, Manchester. It has two rows of manuals, and contains the following stops :

Great Organ.-Compass from CC to F in Alto, 54 notes.

Register of Tone.

8 feet.

No. of Pipes.

54

54

8

Total No. of Pipes in Great Organ 594

various.

8 1

The organ has three combination pedals to change the stops; also, twenty-five pedals extending from CCC to C. The swell has Venetian shutters and graduating action. The bellows are double feeding and double leathered. The whole is inclosed in a handsome case with gilt front pipes. The height of the organ is 19 feet 2 inches; the depth, 8 feet 3 inches; the width, 13 feet.

NEW ORGANS IN THE PROVINCES.-On Sunday, May 13, was re-opened, the organ at All Saint's Church, Bolton, which has had the additions of swell (tenor C, 5 stops), pedal diapason, 16 feet, and couplers; and on the same day, the organ in the parish-church, Stoke-upon-Trent, which has had a thorough repair, new pedals, swell, &c., &c.

In the Concert-Stück Herr Lubeck was the pianist. execution was vigorous and his power remarkable. We cannot, however, admire his reading of this very familiar work. He was loudly applauded at the end, and recalled to the platform. Madame Borghi-Mamo and Signor Belletti were the vocalists. The lady, in the willow song from Otello, obtained the same success as at Her Majesty's Theatre. Her Neapolitan air was no less successful, and the singer was summoned back at the end. Signor Belletti gave the fine air from the Gazza Ladra with great effect, and was equally happy in the florid piece from Donizetti's Elisir d'Amore.

AMATEUR MUSICAL SOCIETY.

THE eighth and last concert of the season was given at the Hanover-square Rooms, on Monday evening, when the following selection was performed to a very large audience :—

Song,

PROGRAMME.-Part I.-Symphony in C, No. 1-Mozart. "Alpine Shepherd's Song," Madame Rieder.-S. W. Waley. Duettino concertante, for oboe and pianoforte, Mr. A. A. Pollock and Mr. S. W. Waley.-T. A. Walmisley. Song, "O beauteous daughter of the starry race," Mr. Wilbye Cooper.--Bethoven. Overture (Zampa)

Herold.

Part II.-- Overture (Lurline)-Wallace. Carnaval de Venise, Madame Rieder. Andante and rondo capriccioso, pianoforte, Mr. S. W. Waley. Mendelssohn. Coronation March (Le Prophète) Meyerbeer. Ballad, "Under the greenwood tree," Mr. Wilbye Cooper.