New Sacred Melodies (White, W. J.)

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 Complete Score
#276479 - 3.00MB, 42 pp. -  10.0/10 2 4 6 8 10 (1) - V/V/V - 151x

PDF scanned by Internet Archive / PTS
Fynnjamin (2013/4/9)

 Supplement
#276480 - 3.15MB, 44 pp. -  10.0/10 2 4 6 8 10 (1) - V/V/V - 51x

PDF scanned by Internet Archive / PTS
Fynnjamin (2013/4/9)

Editor:

4th edition
3rd edition of Supplement

Publisher Info.:

London: Hart & Fellows, for the Author, n.d.(ca.1825).

Copyright:

Public Domain [tag/del]

Misc. Notes:

Supplement title: Supplement to Sacred Melodies, Consisting of Thirty One Original Psalm & Hymn Tunes, Composed in the most familiar Style With an Accompaniment for the Piano Forte, Organ &c. by W. J. White (St. Albans.)

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General Information

Work Title New Sacred Melodies
Alternative Title New Sacred Melodies Suitable for Public & Private Devotion, and Adapted to the Psalm and Hymns In the New Version, Dr. Watts, Dr. Rippon's, Dr. Collyer's, Mr. Wesley's, Countess of Huntingdon's & Dr. Doddridge's Hymn Books, also some Original Hymns, (Never before Published) by The Rev. Jas. White (Lowestoft). The Whole Composed & Arranged for Four Voices With an Accompaniment for the Piano Forte or Organ, by W. J. White (St. Albans).
Composer White, W. J.
Movements/Sections 62 tunes: 31 tunes + 31 tunes in Supplement
First Publication ?1820; 3rd edition by 1823
Librettist various, including Rev. James White of Lowestoft
Language English
Piece Style Classical
Instrumentation 4 voices / choir (SATB), organ/piano (includes figured bass as well as chords)


Misc. Comments

A rather popular publication - many of the pieces published here exist in manuscript copies.

Some reviews (uploader's own emphases in bold):

The New Evangelical Magazine, and Theological Review, Volume 9 (1823) - Review of the 3rd edition:
This volume consists of thirty-one original Tunes arranged for four voices, with an accompaniment, as the title page expresses, for the Piano Forte, or Organ. They are, indeed, charming melodies; simple, chaste, and elegant; and, taken all together, they may be regarded as affording the finest specimen of the present improved state of Church Music, that is before the public. We have said the “improved state,” and we know of no one branch of science which, in our time, has undergone so rapid and extensive an improvement ... We must rank Mr. White amongst our benefactors, he is fully aware of the evils to which we have adverted, and in the composition of his “Melodies,” though we would not flatter him by insinuating that he has attained perfection, we may do him the justice to say that he has advanced us many degrees towards it. We are glad to perceive by an advertisement that he is preparing for publication by subscription, a supplemental volume, in which we wish him success, and shall cheerfully receive the names of any of our friends who are disposed to encourage it, hoping that he will persevere in the line in which he has set out, and give us pure Melodies calculated to promote devotion in any worshipping assemblies.
Evangelical Magazine and Missionary Chronicle, Volume 2 (1824):
Psalmody is so important a branch of public worship, that we feel it a duty to encourage every attempt for its improvement; but the generality of psalmodists of the present day seem to labour to confine it to themselves, to the exclusion of the congregation: this is going back with hasty strides to popery; for congregational singing—(that is, of the congregation generally) was a striking feature of the Reformation, and, as musical historians inform us, a powerful means, of its promotion.
It would be injustice to Mr. White not to acknowledge that many of his melodies are very pleasing, and well adapted for public worship; but in others, the light divisions, sudden changes of time, pauses ad. lib. and imitations between the parts, require evidently a choir of singers, and but ill assort with purposes of devotion.
Though the harmony between the vocal parts is tolerably correct, there are many consecutions of 5ths and 8ths in the organ part; and we regret that he attempted to figure the bass, which is always useless when the chords are expressed in notes; and here the figures are worse than useless, as they are more frequently wrong than right; and Mr. W. has made a singular blunder in using the mark of continuation (—), as any organist will inform him: see Norwich, p.11.
The Baptist Magazine, Volume 17 (1825):
1. New Sacred Melodies, by W.J. White, of St. Albans. 3s. 6d.
2. A Supplement to the above. 4s.
3. Worship, a much admired Piece, sung at the opening of Hatfield Independent Chapel. 1s. 6d.
We have paid attention to these compositions of Mr. White, and are pleased with their general simplicity; many of them are, we think, deservedly styled, Melodies. The scientific singer will not, perhaps, be much enraptured with them; but we think, that many, especially of the first book, strongly recommend themselves to our Devotional Assemblies.
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