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THOUGHTS ON THE SUBLIME IN MUSIC* 



Before we proceed to the consideration of this subject, or rather 

 as affording some prefatory explanations of our own views, let us 

 examine two papers by Mr. H. J. Gauntlett, which appeared as 

 leading articles of a monthly publication, called the Musical World ; 

 and in which, the principles laid down by Dr. Crotch in his mu- 

 sical lectures, and elsewhere, are controverted with rather more 

 warmth than the occasion seems exactly to require. Mr. Gauntlett 

 appears to ground his hostility mainly on the bad judgment shewn 

 in awarding the Gresham prize, and on the small success which has 

 attended the labours of Dr. Crotch and his followers, in the pro- 

 duction of music for the church. We say appears, for though he 

 does not say so in as many words, and although he has, in a loose 

 and rambling manner, brought forward arguments which he ima- 

 gines tend to demolish these principles ; yet it is sufficiently evident 

 that his remarks were prompted by what he considers the mal- 

 awardment of the prize : from this springs his hostility to the prin- 

 ciples above mentioned, to shew the justice of which hostility, he 

 afterwards seeks for arguments, and brings forward examples and 

 even ridicule. With what ability, fairness, and success he has 

 wielded these weapons, we now propose to inquire. 



Mr. G. commences by giving an account of the origin of the 

 Gresham prize, annually awarded, " for the best original composi- 

 tion in sacred vocal music, either hymn or anthem ; the words to be 

 selected from the Canonical Scriptures, &c. ; and to be set for three, 

 four, or five voices, with a separate part for the organ ; the music 

 to be entirely new.*' Mr. G. has put the last two sentences in 

 italics, for reasons, doubtless, most excellent, but which we confess 

 ourselves unable to fathom. The first prize was awarded to Mr. 

 Charles Hart, the second to Mr. Kellow Pye, the third to Mr. 

 Goss, the fourth to Mr. Elvey, the fifth and last to Mr. C. Lucas. 

 Now, from these compositions having gained the prize, Mr. Gaunt- 

 lett infers that they are all in what the umpires consider the true 

 sublime style, and thence that the principles on which Dr. Crotch 

 (one of the umpires) has founded his decision, are groundless. This 

 inference is, we think, not borne out by sound reasoning : is it not 



* We propose, in future, to dedicate a few pages in each number to an 

 original paper on the u divine art," and a few more to critical notices of such 

 new musical publications as are sent to us for review Eds. 



VOL. V. NO. XVIII. 2 II 



