For Choirs and Congregations "'It is a good precept generally in seconding another, yet to add somewhat of one's own; as if you will grant his opinion, let it be with some distinction; if you will follow his motion, let it be with condition ; if you allow his counsel, let it be with alleging farther reason."
For Choirs and Congregations HE reader will benefit most from Wesley's remarks in this chapter who takes them in the spirit rather than the letter. Conditions of worship have changed since his day ; but the spirit he sought to infuse into it, the spirit of reverence and propriety, the making of it an offering of our best to God that we may win Himself in return, should abide with us evermore. The talking in church, against which he proclaims so strongly, has its commendable side.
One can bear with it more patiently when it is felt to be a protest against stiffness, a yearning towards sociaJohn Wesley on Preaching bility and brotherliness. But even with this excuse, which it cannot always plead, it can hardly be esteemed admirable, and is often utterly destructive of the reverence which lies at the base of all true worship. For a congregation to break into miscellaneous chatter as it melts away from under the benediction is a sure method of dissipating the spiritual effect of the service, and argues anything but veneration for Him at whose feet it has but lately bowed.
So far as worship is a social function, its end is to bring us unitedly into communion with the Invisible and Eternal, rather than into individual fellowship with each other. To come and go without word or sign, as Wesley seems to advocate, would be
For Choirs and Congregations to give to our worship an anti-social chill, and yet it must be admitted that many congregations have rushed to the opposite extreme, and the retirement from the sanctuary is frequently as noisy as the exit from a theatre.
Wisdom avoids extremes, and if our hearts are but set upon it, we shall find the means of making our services a helpful recognition of each other, and yet a reverent approach to God.
In a similar spirit must be taken many of Wesley's remarks on the musical portion of the service, neither brushing them aside as obsolete, nor accepting them as infallible counsels.
Music has made great advances, and to some of the things he condemns we may be disposed to offer gracious tolerance. Indeed, he is hardly cona John Wesley on Preaching sistent with himself. In one breath he will cry, ''Sing no anthems!" in the next he will tell us of the spiritual comfort he received from the anthem at St. Paul's, or will recommend an anthem in place of a voluntary, or will stint no praise to those he hears in various churches. And yet there is this sound principle to be gathered from his strictures, that the music of the House of God is never to be for our own gratification or display, but a help to the making of melody in our hearts to the Lord.
BEHAVIOUR IN CHURCH '¢T went in the morning to the Tolbooth kirk, [Aaznburgh]|; in the afternoon, to the old Episcopal chapel.
But they have lost their glorying; For Choirs and Congregations they talked, the moment Service was done, as if they had been in London.
In the evening the Octagon was well filled ; and I applied, with all possible plainness, 'God is a Spirit ; and they that worship Him must worship Him in spirit and in truth.' ''—/ournal, 1754; Vol. 1V..p. 277.
'"'T recommended the congregation here, (and afterwards many other places), the example of the people in Holland, (at least, wherever I have been), who never talk in a place of public worship, either before or after the service. They took my advice.
None courtesied, or bowed, or spoke to anyone ; but went out in as decent a manner, and in as deep silence, as any I saw at Rotterdam or Utrecht."
—Journal, 1784, vol. iv. p. 283.
John Wesley on Preaching '""We went on to Carmarthen.
After preaching, I advised all the audience to copy after the decent behaviour of the Hollanders, in and after public worship. They all took my advice; none opened their lips till they came into the open air."
—Journal, 1784, vol. iv. p. 286.
''In the evening I took coach, and the next evening preached at Norwich. Afterwards I advised the people to go away in silence; and they did so. Neither man nor woman spoke till they were out of the House."
—Journal, 1784, vol. iv. p. 291.
''But there is a worse indecency than this creeping in among us—talking in the preaching-houses, before and after service. How shall this be cured ?
For Choirs and Congregations '*Let all the Preachers join as one man, and the very next Sunday they preach in any place, enlarge on the impropriety of talking before or after service, and strongly exhort them to do itnomore. In three months, if we are in earnest, this vile practice will be banished out of every Methodist congregation. Let none stop till he has carried his point."— Wesley's Works, vol. villi. p. 332.
'"We went to Lowestoft, where the people have stood firm from the beginning. Observing in the evening that forty or fifty people were talking together, as soon as the service was over (a miserable custom that prevails in most places of public worship throughout England and Ireland) I strongly warned the congregation
John Wesley on Preaching against it, as I had done those at Norwich and Yarmouth. They received it in love, and the next evening all went silently away. But this warning must be given again and again in every place, or it will not be effectual." —/ournal, 1783, vol. iv. p. 263.
''T went to Glasgow, and preached in the House; but the next evening by the river-side. Suz. 30. At seven I spoke exceeding strong words, in applying the parable of the Sower.
In the afternoon I went to the English chapel. But how was I surprised!
Such decency have I seldom seen even at West Street, or the new Room in Bristol. (1) All, both men and women, were dressed plain; I did not see one high head. (2) No For Choirs and Congregations one took notice of anyone at coming in; but, after a short ejaculation, sat quite still. (3) None spoke to anyone during the Service, nor looked either on one side or the other. (4) All stood, every man, woman, and child, while the Psalms were sung. (5) Instead of an unmeaning voluntary, was an anthem, and one of the simplest and sweetest I ever heard. (6) The Prayers, preceding a sound, useful sermon, were seriously and devoutly read. (7) After Service, none bowed, or courtesied, or spoke, but went quietly and silently away."—/ournad, £770, vols 1v.'p./ 152.
AN ORGANIST COMMENDED ''March 29 (being Good-Friday) I came to Macclesfield just time enough Oo 198 John Wesley on@ Preaching to assist Mr. Simpson in the laborious service of the day. I preached for him morning and afternoon; and we administered the Sacrament to about thirteen hundred persons. While we were administering, I heard a low, soft, solemn sound, just like that of an AZolian harp. It continued five or six minutes, and so affected many, that they could not refrain from tears.
It then gradually died away. Strange that no other organist (that I know) should think of this."—/ournal, 1782, vol. iv. p. 223:
HIS APPRECIATION OF MUSIC '¢ About six we went to the church.
It was pretty well filled with such persons as we did not look for so near the Highlands. But if we were For Choirs and Congregations surprised at their appearance, we were much more so at their singing.
Thirty or forty sung an anthem after sermon, with such voices as well as judgment, that I doubt whether they could have been excelled at any cathedral in England." —/ournal, 1761, vol.
'*T preached at eight on SouthernayGreen to an extremely quiet congregation. At the cathedral [Exeter] we had a useful sermon, and the whole service was performed with great seriousness and decency. Such an organ I never saw or heard before, so large, beautiful, and so finely toned ; and the music of 'Glory be to God in the highest,' I think exceeded the Messzah itself." —/Journal, mya, VOL. fil. p. ITT.
John Wesley on Preaching ''T was desired to hear Mr. Leoni sing at the Jewish synagogue. I never before saw a Jewish congregation behave so decently. Indeed, the place itself is so solemn, that it might strike an awe upon those who have any. thought of God."—/ournal, 1770, VOL. tilepewso7.
'* At nine I explained the great text of St. John to an exceeding large congregation. We had at church an anthem, which I know not that I have heard these fifty years, ' Praise the Lord, O my soul'; and sung in a manner that would not have disgraced any of our English cathedrals."'
—Journal, 1773, vol. iii. p. 498.
'' After dinner we went on to Newcastle-under-Lyme (that is the proper name of the river), where I was inFor Choirs and Congregations vited by the Mayor, a serious, sensible man, to lodge at his house. I was desired (our Room being too small) to preach in the market-place. Abundance of people were soon gathered together, who surprised me not a little, by mistaking the tune, and striking up the March in /udas Maccabeus.
Many of them had admirable voices and tolerable skill. I know not when I have heard so agreeable a sound.
It was indeed the voice of melody.
But we had one jarring string: a drunken gentleman was a little noisy, till he was carried away.'—/ournad, 77a, eVOR IN P-210.
''] spent an agreeable hour at a concert of my nephews. But I was a little out of my element among Lords and Ladies. I love plain
John Wesley on Preaching music and plain company best."— Journal, 1781, vol. iv. p. 196.
'"'We had scarce reached Peel before the rain increased ; but here the preaching-house contained all that could come. Afterwards Mr. Crook desired me to meet the singers. I was agreeably surprised. I have not heard better singing either at Bristol or London. Many, both men and women, have admirable voices; and they sing with good judgment. Who would have expected this in the Isle of Man?"—/Journal, 1781, vol. iv. p206.
"After visiting Newcastle and Congleton, on Saturday, April 1, I came to Macclesfield. Sznday, 2. Wehad a large and serious congregation at the new church, both morning and For Choirs and Congregations afternoon. The organ is one of the finest-toned I ever heard; and the congregation singing with it make a sweet harmony.' —/ournal, 1786, vol. ive p. 328.
''Thence we went on to Bolton.
Here are eight hundred poor children taught in our Sunday-schools, by about eighty masters, who receive no pay but what they are to receive from their Great Master. About a hundred of them (part boys and part girls) are taught to sing; and they sang so true, that, all singing together, there seemed to be but one voice. The House was throughly filled,-while I explained and applied the first commandment. What is all morality or religion without this? A mere castle in the air. In the even1y9 John Wesley on Preaching ing, many of the children still hovering round the House, I desired forty or fifty to come in and sing— ' Vital spark of heavenly flame.'
Although some of them were silent, not being able to sing for tears; yet the harmony was such as I believe could not be equalled in the King's chapel."
—Journal, 1787, vol. iv. p. 389.
'"We went on to Bolton, where I preached in the evening in one of the most elegant Houses in the kingdom, and to one of the liveliest congregations. And this I must avow, there is not such a set of singers in any of the Methodist congregations in the three kingdoms. There cannot be, for we have nearly a hundred such trebles, boys and girls, selected
"For Choirs and Congregations — out of our Sunday-schools, and accurately taught, as are not found together in any chapel, cathedral, or music-room within the four seas.
Besides, the spirit with which they all sing, and the beauty of many of them, so suits the melody, that I defy any to exceed it; except the singing of angels in our Father's house."— Journal, 1788, vol. iv. p. 413.
'""We had a fast-day, which was concluded with a solemn watch-night.
At the close of this we sung— 'Ye virgin souls arise!' accompanied by the Gloucestershire band of music. Such a concert was never heard in that House before, and perhaps never will be again."— Journal, 1788, vol. iv. p. 438.
John Wesley on Preaching MUSIC THAT ANNOYS HIM ''In the evening I preached at Pebworth church; but I seemed out of my element. A long anthem was sung ; but I suppose none beside the singers could understand one word of it. Is not that 'praying in an unknown tongue'?—I could no more bear it in any church of mine, than Latin prayers." —/ournal, 1778, vol. iv. ps 11G:
'April 7. (Bezng LEaster-Day) 1 preached in Bethesda, [Dublin] Mr.
Smyth's new chapel. It is very neat but not gay; and I believe will hold about as many people as West Street chapel. Mr. Smyth read prayers, and gave out the hymns, which were sung by fifteen or twenty fine singers ;
For Choirs and Congregations the rest of the congregation listening with much attention, and as much devotion as they would have done to an opera. But is this Christian worship? Or ought it even to be suffered in a Christian Church ?"'— Journal, 1787, vol. iv. p. 367.
*'T returned to London. Wednesday, 29. I heard /udzth, an oratorio performed at the Lock. Some parts of it were exceeding fine; but there are two things in all modern pieces of music, which I could never reconcile to common-sense. One is singing the same words ten times over; the other singing different words by different persons, at one and the same time. And this, in the most solemn addresses to God, whether by way of prayer or of thanksgiving. This can
John Wesley on Preaching never be defended by all the musicians in Europe, till reason is quite out of date.' —/Journal, 1764, vol. ill. p. 160.
''When we came to Neath, I was a little surprised to hear I was to preach in the church; of which the Churchwardens had the disposal, the Minister being just dead. I began reading prayers at six, but was greatly disgusted at the manner of singing. (1) Twelve or fourteen persons kept it to themselves, and quite shut out the congregation. (2) These repeated the same words, contrary to all sense and reason, six or eight or ten times over. (3) According to the shocking custom of modern music, different persons sung different words at one and the same moment; an intolerable insult on common-sense,
For Choirs and Congregations and utterly incompatible with any devotion."— Journal, 1768, vol. iii.
'*? was much surprised in reading an Essay on Music, wrote by one who is a thorough master of the subject, to find that the music of the ancients was as simple as that of the Methodists ; that their music wholly consisted of melody, on the arrangement of single notes; that what is now called harmony, singing in parts, the whole of counterpoint and fugues, is quite novel, being never known in the world till the popedom of Leo the Tenth. He farther observes, that as the singing different words by different persons at the same time necessarily prevents attention to the sense, so it frequently destroys melody for the John Wesley on Preaching sake of harmony; meantime it destroys the very end of music, which is to affect the passions."—/ournal, 1768, vol. ili. p. 346.
'* At noon, I preached at Prestonon-the-Hill; and in the evening at Warrington. Sunday, 8. The service was at the usual hours. I came just in time to put a stop to a bad custom, which was creeping in here:
A few men, who had fine voices, sang a Psalm which no one knew, in a tune fit for an opera, wherein three, four, or five persons, sung different words at the same time! What an insult upon common-sense! What a burlesque upon public worship! No custom can excuse such a mixture of profaneness and absurdity." —/ournal 1781, vol. iv. p. 199.
For Choirs and Congregations now shall we guard against formality in public worship ; particularly in singing?
'*(1) By preaching frequently on this head. (2) By taking care to speak only what we feel. (3) By choosing such hymns as are proper for the congregation. (4) By not singing too much at once; seldom more than five or six verses. (5) By suiting the tune to the words.
**TIs not this formality creeping in already, by those complex tunes, which it is scarcely possible to sing with devotion? Such is, 'Praise the Lord, ye blessed ones': such the long, quavering hallelujah annexed to the morning-song tune, which I defy any man living to sing devoutly. The repeating the same words so often,
John Wesley on Preaching (but especially while another repeats different words, the horrid abuse which runs though the modern church music,) as it shocks all commonsense, so it necessarily brings dead formality, and has no more of religion in it than a Lancashire hornpipe."'
I submitted some of the foregoing extracts to the judgment of a musical scholar, and received the following reply :— "'It seems to me that Wesley had a musical temperament (indeed his remarks about the organplaying during the Communion prove this) and that his lack of musical education alone accounts for his more foolish remarks.
'* His pride in the supposed identity of the music of the Methodists with For Choirs and Congregations that of the ancients rests on two grounds :— '"(1) The respect of the ancients born of his classical Oxford education.
''(2) His notion that true Christianity must conform to primitive practice. Of course the fact that the apostles sang unharmonised melody, (that is 'plain chant') and that the early Christians did the same is the great argument of the Romans for the tying of their stricter liturgical services to plain chant. The Popes, however, saw the value and beauty of harmony and counterpoint, and employed Palestrina, whose greater masses were proclaimed the ideal for polyphonic music as opposed to plain chant.
'Unfortunately Wesley can hardly have heard any Palestrina. But he Pp 209 John Wesley on Preaching must have heard some of the sounder works of the English school (Purcell, Byrde, etc.) in the cathedrals (or, at least, at Oxford). It is a pity these did not teach him to discriminate.
Probably the anthems he derides were as bad as he says they were; but I notice he excepts against harmony and counterpoint in general.
''Tt is worth noting that Wagner almost abandoned in his mature works the repetition of words. But of course Wagner was writing dramas.
Wesley lived in the days of 'absolute music' (z.e. music sufficient unto itself as contrasted with music limited by a play), and in his day the writers of music for the voice took the respectable view that, so long as the music was generally appropriate to a For Choirs and Congregations given string of words, you might use the words over and over again rather than distract the hearer by giving him further sentences. Their business was with the development of a given musical idea—the musical idea being supposed, first, to keep step with the poetical or dramatic or devotional idea that prompted it, and, afterwards, to transcend its occasion and to spread out far more broadly and grandly than mere words allow.
'*In Handel one finds an astonishing keeping of touch between words and sounds; but the words on their fifth or sixth repetition are the same vocables as at their first enunciation.
It is the ever-enlarging music that fills them fuller every time.
''Wesley's successors did not lay John Wesley on Preaching his words to heart. The repetitions in some of the old tunes were more senseless and less devotional than anything in the anthems, on account of the peculiar gravity and didacticism of the Methodist hymns."
DIRECTIONS FOR CONGREGATIONAL SINGING ''That this part of divine worship may be more acceptable to God, as well as more profitable to yourself and others, be careful to observe the following directions :— '1, Sing all. See that you join with the congregation as frequently as you can. Let not a slight degree of weakness or weariness hinder you.
If it is a cross to you, take it up and you will find a blessing.
For Choirs and Congregations **2. Sing Zustzly, and with a good courage. Beware of singing as if you were half dead, or half asleep ; but lift up your voice with strength. Be no more afraid of your voice now nor more ashamed of its being heard, than when you sung the songs of Satan.
"€3. Sing modestly. Do not bawl, so as to be heard above, or distinct from, the rest of the congregation, that you may not destroy the harmony ; but strive to unite your voices together, so as to make one clear melodious sound.
'4. Sing zz time. Whatever time is sung, be sure to keep with it. Do not run before, nor stay behind it; but attend closely to the leading voices, and move therewith as exactly asyoucan. And take care you sing not too slow. This drawling way
John Wesley on Preaching naturally steals on 'all who are lazy' and it is high time to drive it out from among us, and sing all our tunes just as quick as we did at first.
'¢s, Above all, sing spzretually.
Have an eye to God in every word you sing. Aim at pleasing Him more than yourself, or any other creature.
In order to this, attend strictly to the sense of what you sing; and see that your heart is not carried away with the sound, but offered to God continually. So shall your singing be such as the Lord will approve of here, and reward when he cometh in the clouds of heaven."— Wesley's Works, vol. xiv. p. 258-9.
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