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America. Let the tune Uxbridge, for example, be sung in quick time, somewhat quicker than usual, and the crotchets will give the time of the minims in the above-named class of tunes. There were one or two organ interludes introduced in a psalm of five stanzas; but these were very short, not more than about two measures, or the length of the last line of a common metre tune. “These tunes would be popular in America," said the lady who was with me, who, though not a singer, has been accustomed for many years to give close attention to the Psalmody, and to hear criticisms and remarks concerning it. And indeed, they are as far from being dull and heavy as need be; I doubt not that many good people, with us, would think it almost irreverent to sing a hymn through with such rapidity. Yet all the people, old and young, joined-all seemed to know the tunes perfectly, and all kept well together.

Mr. Havergal is himself, as is well known, much of a musical man, and an excellent composer. He has once or twice obtained the Gresham prize medal for the best composition of a church service or anthem; and he is well-known by numerous sacred songs, published with pianoforte accompaniment. But it is metrical psalmody and the chant in which he is most interested, and in which he has produced some very fine specimens. He only devotes odds and ends of time to music, and never writes music when he is able to write sermons; but it has been, when weary with the labors of the day, or when travelling, that he has composed most of his popular and excellent tunes. He has many curious and valuable old books of psalmody, and is now himself writing, as he can find time, some historical notice of the "Old Hundredth Psalm Tune."

In the afternoon of Sunday, we again attended the cathedral service. The officiating canon and the choir went through it with the speed of railroad travelling, and if that is well done

which is done quickly, then this was well indeed. But the idea of worship in such a service, who would think of it, or suppose for a moment that confession, supplication, thanksgiving and adoration, had any part or lot in the matter.

We have had opportunity to attend but one public religious service in London, in the daily cathedral service at St. Paul's. It was nearly the same as at the Worcester cathedral. The choir is a little larger, but the same irreverent hurrying prevails. The manner of treating the cadences in the chant I like, for there is no singing, drawling style, but the tones are short and words quickly spoken; but with respect to the chanting in other respects, or in general, it is all confused, inarticulate, rapid and unsatisfactory-still it is not relatively, perhaps, much quicker than the other parts of the service. A company of hungry ones in a second or third-rate American hotel do not eat their dinner in greater speed than these humble confessions and prayers are recited.

It is quite astonishing that good people from America, ministers and others, should write in such glowing terms of the cathedral music of England. It is as unfit for our purposes as are their cathedrals, or their Church and State dependence and connection. One does not wonder at the old Puritans, or at their rejection of all chantings, and organ playings, and respondings, and liturgies, when he sees the very great abuses of these things here. It does not follow that they are necessarily bad things, because we see them so much abused; but it surely becomes us to guard against these abuses of them, as they are introduced into the churches of New-England.

The organ in particular, if we err not, is already sadly abused in many of our churches. Light and silly voluntaries, long and unmeaning interludes between the stanzas, loud accompaniment, fancy stop, and see-saw swell-playing, and other things, call for

reformation. Indeed, unless the organ can be used as a simple aid to worship, surely it had better be altogether dispensed with.

I have omitted to mention one important point in the use of the organ, both at the parish church and at the cathedral in Worcester. It was this, viz.: the closing voluntary, in both cases, consisted of an introduction and fugue played in excellent style. How noble and elevating is the fugue; this most learned and most interesting style of music is admirably adapted to the organ, and no person ought to be regarded as an organist who cannot play with a clear and distinct articulation, a strict fugue -yea, even a BACH!

I will also add that both organs at Worcester (as also St. Paul's here) were played in the true organ style, and without the slightest tendency to the light, frivolous, overture, polka, waltz, dance-prevailing manner so so common with us. Dr. Hodges, in New York, and the elder Hayter, in Trinity church, Boston, are both fine specimens of well-educated English organists.

LETTER II.

A Sunday Service at the Foundling Hospital, London-St. Martins-in-the-Fields.

LONDON, January 15, 1852.

THIS establishment is interesting to musical people, from the fact that Handel was one of its patrons, composing for it, and performing his music for its benefit. A tablet is seen in one of the rooms, with the amount received for several years in succession from Oratorios given. But alas! for the music

now; it is anything but church music. There are nearly 400 children, about half of each sex; they all sit in the organ loft, and all sing the chants, responses, tunes, and services. They are dressed in a neat uniform, the boys in blue, with a white `collar turned down, and the girls with white caps and aprons. The organ loft is so arranged, that by the raised seats every one can be distinctly seen.

The service commenced by an organ voluntary; and a lighter, more frivolous piece of organ-playing, I never heard. It was an attempt at a kind of extemporaneous overture with fancy stops, flute, oboe, &c., and great organ contrasts, staccato passages, sudden pianos, and fortes, and sforzandos, in little scraps of melody, light as the lightest of Donizetti or Verdi, without dignity, solemnity, character, or sense. Not a particle of reverence about it. I have heard the organ abused before, and degraded enough, but this was the climax of organ absurdity and degradation.

In the chanting the children kept together, and there was the entire absence of that drawling in the cadences, so common in America. The notes in the cadences were very quickly sung— very much quicker than I have been accustomed to teach them, yet not too quick. But little attention was given to words— they were not properly delivered; but the smaller words were omitted, and many were so clipped or abridged as to be decidedly coarse or vulgar, as

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'Glory be t' 'he Father," &c. "As 't was 'n th' beginning," &c.

This was particularly observable in the monotone recitation of the Lord's Prayer and Creed.

The Te Deum was sung in anthem form, and was well done -i. e. they all kept together, pronouncing the words with the

speed of an auctioneer, but without any attention to sense, emphasis, pause, and the like.

A strange psalm tune was sung. It was like an andante allegretto, with marked time, by Haydn. Strange indeed, to hear a hymn so sung to music so very light and inappropriate. But it was well done, that is, they all went through it together, as true as a factory wheel goes round, and with as much expression and good taste.

In the place of an anthem, an extract from the Messiah was sung. Rec. "For behold darkness," &c.; aria, "The people that walked," and the chorus "For unto us." The bass song

was well done, by a fine voice, and in quite an artistic manner. The singer did himself much credit indeed, but the chorus was a failure the little things [children] kept along and got through with it, but no character was given to it whatever. It is not children's music. Children might as well be required to read Shakspeare, as to sing Handel. They may hit the tones, but they cannot sing the music.

The organ accompaniment was here excellent orchestra style was required, and orchestra style was played. The staccato was boldly, cleanly, and most distinctly given. Indeed the organ was made a most excellent substitute for an orchestra; and very great skill indeed was manifested by the organist.

A very excellent and instructive sermon followed; the whole service occupying a little more than two hours.

We were now permitted to follow, or rather to precede the children to their dining room. We took our stand in the boys' room, and in a few minutes the two hundred little fellows marched into the room, and took their places at the tables in most perfect order. Four of the larger boys had clarionets in heir hands, and, on a signal being given, the whole company

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