THE
Choral
Service Book
FOR PARISH CHURCHES,
CONTAINING
THE FERIAL AND FESTAL RESPONSES, THE LITANY,
CHANTS ARRANGED FOR THE CANTICLES AND PSALTER,
AND MUSIC FOR THE COMMUNION SERVICE.
Compiled and Edited by J. W. ELLIOTT,
Organist and Choirmaster of S. Mark’s, Hamilton Terrace, London.
OPINIONS OF THE PRESS.
“It was a happy thought to combine in one book all the music required for an ordinary choral service. Most of our living Church musicians have been laid under contribution to this most excellent collection.”—Musical Standard.
“In the selection of chants the compiler has been guided by an excellent taste. The organist or choirmaster who uses this book will find here not merely the familiar chants we should all be sorry to miss, but many others but little known, and yet both beautiful and well adapted to congregational use. The book is very skilfully arranged and is clearly printed.”—Record.
“A very useful book. The intention of the editor is to promote congregational singing, and therefore all music which is too elaborate in character, or too high in pitch, has been rigorously excluded.”—Church Bells.
“An abundant supply of chants, single and double. Mr. Elliott’s work will assist organists in the choice of suitable chants.”—Church Times.
“A great variety of chants, old and new, will also commend the book, a set for the proper Psalms being especially useful. Altogether this is a book safely to be recommended.”—Saturday Review.
London:
SEELEY AND CO.,
Limited, 38, Great Russell Street, W.C.
Footnotes:
[1] Južno-slovjenske Narodne Popievke: Zagreb, 1878-1881.
[2] Josip Haydn i Hrvatske Narodne Popievke; reprinted from the Vienac, Zagreb, 1880.
[3] As early as 1862 the Lumír put in a claim for Bohemia. This was a step in the right direction, since it represented Haydn as a Slav, but the evidence preponderates in favour of a more Southern origin.
[4] Dr. Kuhač (Josip Haydn, p. 5) declares that one in every three of the population “either sings, plays, or composes.” And there is a significant Croatian proverb to the effect that “an age is known by its music.”
[5] For the sake of clearness, it may be well to say that Croatia proper means that district across the Save of which Agram (i.e. Zagreb) is the capital; and that the same race occupies the entire territory from the Drave to the Lake of Scutari; and from the Roumanian frontier to the Adriatic. There is some Italian population in the extreme west, e.g., at Zara; but most of this region is exclusively Slavonic, and the Servo-Croatian language prevails with certain modifications over the whole of it. There is also a considerable Croat population in Istria, Carniola, Lower Austria, and the adjoining parts of Hungary.
[6] Josip Haydn, p. 3.
[9] See Appendix C and compare Dr. Mitterrutzer’s “Slavisches aus dem Oestlichen Pusterthal in Tirol,” quoted by Dr. Kuhač, Josip Haydn, p. 12.
[10] For other instances of Slavonic occupation and nomenclature see Appendix D.
[12] He called himself successively Abel, Ebel, Ibel, and Eibel. But his patrons always moved a stage in advance, even completing the circle by pronouncing the diphthong as it is pronounced in the word “eight.”
[13] For a list of such adaptations see Appendix F.
[14] Josip Haydn, p. 16. See note to Appendix E.
[15] Dr. Pohl gives fourteen variants, and even his list is not exhaustive. There are at least six in documents relating to the composer himself. See Appendix G.
[16] See the announcement of “Alexander’s Feast” (Vienna, 1812) preserved in the Gesellschaft library. Carpani spells the name Hendl.
[17] It is fair to state that some etymologists derive the name Haiden from the district “Auf der Haid” near Hainburg. But this is very unlikely. The district is a narrow stretch of moorland, and could not account for the prevalence of the name through the whole country-side, to say nothing of the frequent occurrence in Croatia proper.
[18] Its second title, “Trstnik,” is significant enough. And at the present day it contain a good many Croats, especially among the poorer inhabitants.
[19] In like manner Pìlar has been Germanised into Piller, Solar into Soller, Kresar into Kresser, and so on. See a list of such changes in Kuhač’s Josip Haydn, pp. 17, 18.
[20] To je lovac i ribar kao Haydn; i.e., as good a shot and fisherman as Haydn.
[21] See instances quoted by Dr. Kuhač, Josip Haydn, pp. 27-29.
[22] Dr. Kuhač gives 1754 as the date of this work. If so, it is the earliest known instance. The above date, which is more probably correct, is that given by Dr. Pohl.
[23] See Kuhač, “South Slavonic Popular Songs,” vol. iii. pp. 98-100.
[24] See Kuhač, “South Slavonic Popular Songs,” vol. iii. p. 92.
[25] See Kuhač, “South Slavonic Popular Songs,” vol. iii. p. 82.
[26] Dr. Kuhač calls it the Sixth Quartet (“u Allegru šestoga četverogudja”), but it is not the sixth in the Paris and London edition, or in the Dresden, or in that of Peters.
[27] This story is sometimes told of the Mariazeller Mass in C major (Novello, No. 15). But first, the Mariazeller Mass was written by commission for Anton Liebe von Kreutzner; second, it is set to the usual Latin text; and third, it does not contain any of the popular melodies in question.
[28] The three-bar phrase is a common feature of early Slavonic melodies, especially when conjoined with a second phrase of four bars in irregular balance.
[29] See in particular the song “Na travniku” (p. 46), and the first Kolo tune (p. 50).
[30] The musical stanza, in this song, goes to a half-stanza of the words. The first is—
| Stal se jesem rano jutro | i.e., | In the early morning stood I |
| malo pred zorjum. | Close upon the dawn. |
[31] There is no need to discuss here the question of Telemann’s Rondo. If its resemblance to Haydn’s tune be anything more than fortuitous, it is probably referable to the same source. See Josip Haydn, p. 81.
[32] Preserved in the Museum of the Gesellschaft Library at Vienna. It is a small oblong sheet, similar to those on which Haydn wrote his “Canons,” and contains, first, the complete sketch of the melody—
and below it the third strain amended—
The improved version of the fourth strain is not there, but, curiously enough, Pohl notes an anticipation of it in the Mariazeller Mass. See Pohl’s Haydn, vol. ii. p. 333.
[33] Its Croatian name, “Sopron,” is still in current use, and it contains enough Slavonic inhabitants to employ their language in many of its official notices.
[34] The passage is worth quoting entire for more than one reason. “Nor can we imagine the art is on the decline while so great a genius as Beethoven lives. This author, though less perfect in other respects than Haydn, exceeds him in power of imagination; and from recent specimens of his unbounded fancy it is to be expected that he will extend the art in a way never contemplated even by Haydn or Mozart. If we were inclined to push our speculations further upon this point we might refer to the very extraordinary discoveries that are now making in Russia in the department of instrumental music. In the course of twenty years it is probable that such effects will be produced in that country as will lead to the most important results in the science of sounds.”—W. Gardiner, in the translation of Stendhal’s “Letters on Haydn,” 2nd edition (London, 1818), page 3.
[35] Possibly German, see “Schwartz” below.
[36] The case of Liszt is somewhat apart from the others. The earliest form of his name appears to be Listhius, which Dr. Kuhač claims with some plausibility as Slavonic (naše gore list). But as early as 1747 the Magyarised form appears in the person of Canon Johann Liszt; and there can be little doubt that by the time of the great pianist’s birth the family had become thoroughly Hungarian. There are, of course, many Hungarian families in which Magyar and Slavonic strains are united, and in the music of Liszt the Magyar element unquestionably predominates.
[37] According to the two meanings of the word Hummel.