Sacred Music (Richard Partridge): Difference between revisions
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==Works at CPDL== | |||
{{MultiPubList|yr,pg,gen,subg,vo,voices|1835}} | |||
==External links== | ==External links== | ||
[[Category:Music publications]] | [[Category:Music publications]] |
Revision as of 12:48, 15 June 2019
General information
Richard Partridge's Sacred Music consists, in the words of the title page, of 'Five Anthems, (The two first may be used at Evening Service, as a Magnificat and Nunc Dimittis) with Introductions to the Morning & Evening Services, Sanctus, Kyrie Eleeson, Doxology, and Gloria Patri; also, Thirty Psalm Tunes with Symphonies'.
The work was published in London by J. Hart, of 109, Hatton-Garden, and 'Sold in Exeter by W. Roberts and W. Skinner, Music Sellers'. While the title page is not dated, the composer's preface is (see below). The work was published by subscription, and has a number of subscribers in common with William Thorn's Twenty Original Sacred Melodies, published the following year, which was also sold by W. Roberts of Exeter.
Publication date and place: 1835 by J. Hart in London.
Introduction
The work includes the following introductions by the composer:
'TO THE PUBLIC.
The following work is published with the hope of affording some gratification to all true lovers of sacred harmony. The Author having laboured under the loss of sight for thirty years, his attention during that period has been devoted to the study of Sacred Music, beguiling hours which would otherwise have been solitary, "Surely the light is sweet, and a pleasant thing it is for the eyes to behold the sun," is a truth the force of which none in the enjoyment of sight can feel so strongly as he who has been deprived of that blessing.
The following selection being published at the solicitation of his friends, under such circumstances, will, it is hoped be favourably received by the Public.
PREFACE.
Sacred Music is generally allowed by all good men, of every denomination, to be an essential part of Divine Service. No part of the Worship can be more sublime and elevating than singing the praises of God. In hearing the word of God we place ourselves at his feet, hoping to be made wise unto salvation; but when his praises are in our mouths, and we are inspired with gratitude to "him who sitteth upon the throne and unto the Lamb," then we rise above the other forms of Christian worship. The Patriarch David made Divine Music his delight, praising God upon the harp, and exhorting others to do the same. The Psalms of David contain so much of Christ and his Gospel, as well as of God and his Law, that they have been called the abstract or summary of both testaments, which to the attentive reader contains the most beautiful and sublime language.
The far greater part of them was penned by David himself, who, it appears, was raised up, qualified, and spiritually endowed to compose holy psalms for the Church of God, which shall continue to the end of time, when they shall be succeeded by the songs of eternity. The words are selected from the New Version, and relate wholly to the praise and glory of God, and the style of the composition is adapted to the same.
The Soprano or Treble part, throughout the book, is placed next to the Bass, for the convenience of the performer on the Organ or Piano Forte, which ought to be sung by treble voices. If the second treble be desired, the notes of the Counter Tenor, taken an octave below, played on a Treble Instrument, or sung by a Treble voice, will answer the purpose.
The Musical Terms or Expression of Time are not affixed to all the psalms, as it is considered that Andante, Largo, &c. cannot determine the exact time in which they should be sung, so well as the language of the Psalms themselves. The principal thing to be attended to in Psalmody is to give effect to the language. The Solos and Duets are to be sung moderately slow, and the Choruses not so brisk as to make the words unintelligible. It is left to the judgment and taste of the performers to be reverently and devoutly performed, which will add greatly to the solemnity of the worship devoted to the glory of Almighty God.
Kennerleigh, near Crediton, Devon, March 21st, 1835.'
Subscribers
Acland, Sir Thomas Dyke, Bart. Killerton |
Madge, Miss, Copplestone |
List of works
Works at CPDL
Title | Year | Page | Genre | Subgenre | Vo. | Voices |
---|---|---|---|---|---|---|
O God of hosts, the mighty Lord | 1835 | 54-55 | Sacred | Hymns | 4 | SATB |
Thee will I bless, my God and King | 1835 | 73 | Sacred | Hymns | 4 | SATB |