1807.] 
composition more than in that of sacred 
song; it was his forte, his master-piece. 
On the other hand, the lightest and most 
trifling compositions of our own times, 
are those little pieces, termed ‘ Sonati- 
nas, Divertimentos, Jigs,” &c.* but which 
can hardly be deemed the prevailing taste 
of the day, being merely designed for the 
convenience as well as encouragement of 
young practitioners; yet these are put in 
competition with the former, and the re- 
sult is applied, in general terms, to all 
modern music. It strikes me in the same- 
light, as if, by opposing Bacon’s or Locke’s 
philosephical works to the contents of 
those little books, which are put into the 
hands of children with a similar design, 
we should thence conclude, that modern 
literature is on the decline. If we wish 
to appreciate the true merit of the present 
style of music, the investigation ought to 
be conducted on very different principles : 
sacred music should be opposed to sacred 
music, secular to secular, and instrumen- 
tal to instrumental; the various beauties 
or defects of either should be clearly as- 
certained and their difference of character 
and effect strictly examined. Such an in- 
vestigation, it must be owned, would prove 
highly useful and beneficial to the musical 
world, and greatly tend to the iunprove- 
ment and perfection of our style. In 
proceeding, however with my remarks in 
some measure, on this plan, it is not so 
much my intention to execute such a de- 
sign, as to observe some methodical order 
in their arrangement. 
Concerning sacred music, which is, I 
believe, what Mr. M. understands by the 
theology of music, (he says,) “that it 
has no place in the modern pursuit of 
this source of improvementand pleasure.” 
A distinction ought to be observed here, 
in as far as this passage concerns either 
the public in general, or composers in 
particular. The public, I believe, are as 
fond of sacred music now, as ever, or ra- 
ther more 50: witness, our overflowing 
houses in the lent-season, to hear the 
oratorios, whereas Stanley or Handel, not- 
withstanding the smal! scale of the thea- 
tres in their time, were not able to half 
fill them, except now and then when the 
FR0LE DATeR a | 0a, a A ER ER ie Bs 
%* Sonatinas and Divertimentos may be mo- 
dern terms, but mang of Handel’s little pieces 
answer the same description of music, which 
is generaily understood by them, as hig water- 
music, &c. As for Jigs and Variations, they 
were in yogue long before Handel’s time, who 
did not seem to dislike them 3 for in a Collec- 
tion of his Overtures, not less than seven are 
terminated by Gicwes. 
the Merits of Handel and modern Composers. 
317 
king happened to visit them; witness also 
the numeraus editions of Handel’s songs, 
constantly publishing in this metropolis 5 
all which could not be the case, if the the- 
ology of music had no place among the 
people, if they did not delight in hearing 
it as well as im practising it themselves. 
The above assertion, however, as it con- 
cerns composers, is, IN a great measure, 
but too true. Formerly, sacred music 
used to be the chief employment of the 
first men of genius and scientific know- 
ledge, whilst the cultivation of secular 
songs was left to the care of inferior com- 
posers. Now, the case is altered: our 
great masters dedicate their time to the 
service of the theatre or concert exclu- 
sively, and that of the temple 1s almost to- 
tally disregarded. Whether it be that 
the great lustre ot Handel’s fame in that 
department has so damped the spirits of 
succeeding composers, as to extinguish 
every hope of success in their bosoms, or 
whatever other circumstance may have 
been the cause, certain it is, that a style 
of music so peculiarly characteristic; so- 
lemn, yet pleasing; chaste, yet highly in- 
teresung; is left without cultivation, 
doomed, like the untilled land, to bear 
no fruit. Yet, notwithstanding this great 
defect, it is not impossible to gather some 
few specimens of the present day sutii- 
cient, at least, to prove that the modern 
style is not so enervated or feeble as to 
be unfit for solemn purposes. I need 
only mention Haydn’s Creation tu prove 
my assertion, the first part of which, in 
particular, I think, will bear 2 compari- 
son with some of Handel’s best pieces. 
As for secular music, or as Mr, M, ex-' 
presses it, “ the ethics of music,” they 
are included by him in the same predica~ 
ment with the former, as having no place 
in modern pursuits. It 1s, however, the 
general opinion, that our modern songs 
are a very great improvement upon those 
of former times, Handel’s alone ex- 
cepted; for, as these were takenfrom the 
works of: the most celebrated authors, 
and their words being combined with his 
music, they willever remain a pattern of 
high excellence. Nevertheless whoever 
will take the trouble to examine the best 
and most popular productions of the 
present day, will soon be convinced that 
these last are not much inferior to 
the former in merit: the style of mu- 
sie being well calculated for the purpose, 
the poetry often elegant, and the subject, 
on the score of morality, generally chaste. 
In proving these points, I must be ex- 
cused from wientioning local authors: 
sufice 
