Fansler

31?
MO, 188o
THE ANTHEM IN AMERICA: 1900-1950
DISSERTATION
Presented to tlie Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OF PHILOSOPHY
By
Terry Lee Fansler, B.M., M.M.
Denton, Texas
August, 1982
Fansler, Terry Lee, The Anthem in America: 1900-1950. Doctor
of Philosophy (Musicology), August, 1982, xvii, 219 pp. text, 102 mu-
sical examples, bibliography, 158 titles.
During the first half of this century, a wealth of anthem liter-
ature was published and performed in the United States that, as a result
of the deluge of new publications since those years, has been either
forgotten or is unknown to modern church musicians. The purpose of
this study is to make the best of this music known, for much of it is
still both suitable and desirable for contemporary worship. The research
is grouped into six chapters that are entitled: The Quartet Anthem,
"Anthems in the Anglican Tradition," "Prominent Choral Ensembles and
the Dissemination of the Anthem," "Anthems by Prominent Music Educa-
tors," "Anthems in the Russian Style," and "The Negro Spiritual."
General discussions include a history of the Quartet Choir; the
establishment of the English Choral Tradition in America; the develop-
ment of collegiate a cappella choirs from Northwestern University, St.
Olaf College, and Westminster Choir College; the history of the Mormon
Tabernacle Choir and the Collegiate Chorale; the history of choral sing-
ing in American high schools and colleges; the history of Russian sacred
choral music and the publication of such in America; and the history of
the Negro spiritual. Biographical sketches of the major composers and
detailed analyses of selected anthems from each comprise the majority of
the study. Composers discussed include Dudley Buck, Harry Rowe Shelley,
Raymond H. Woodman, William H. Neidlinger, William C. Macfarlane,
Horatio Parker, T. Tertius Noble, J. Sebastian Matthews, H. Alexander
Matthews, Seth Bingham, H. Everett Titcomb, Joseph W. Clokey, Philip
James, T. Frederick H. Candlyn, Leo Sowerby, Peter Christian Lutkin,
F. Melius Christiansen, Morten J. Luvaas, Leland B. Sateren, David Hugh
Jones, George Lynn, Clarence Dickinson, Van Denman Thompson, Carl F.
Mueller, Noble Cain, Robert Shaw, Dmitry Bortnyansky, Alexandr Kastal'sky,
Alexandr Grechaninov, Pavel Chesnokov, Harry T. Burleigh, R. Nathaniel
Dett, and William L. Dawson.

(§) Copyright by
Terry Lee Fansler
1982
111
TABLE OF CONTENTS
Page
LIST OF MUSICAL EXAMPLES vi
FOREWORD
Chapter
I. THE QUARTET ANTHEM 1
Dudley Buck
Harry Rowe Shelley
Raymond H. Woodman
William H. Neidlinger
William C. Macfarlane
II. ANTHEMS IN THE ANGLICAN TRADITION 32
Horatio Parker
T. Tertius Noble
J. Sebastian Matthews and H. Alexander Matthews
Seth Bingham
H. Everett Titcomb
Joseph W. Clokey
Philip James
T. Frederick H. Candlyn
Leo Sowerby
III. PROMINENT CHORAL ENSEMBLES AND THE DISSEMINATION

OF THE ANTHEM 75
Professional and Amateur Singing Societies

The Musical Arts Society of New York
The Mendelssohn Choir of Toronto
Russian Choirs
Collegiate A Cappella Choirs
Northwestern University
St. Olaf College
Westminster Choir College
The Salt Lake Mormon Tabernacle Choir
The Collegiate Chorale
IV
IV. ANTHEMS BY PROMINENT MUSIC EDUCATORS 98
Peter Christian Lutkin

F. Melius Christiansen
Second Generation A Cappella Composers
Clarence Dickinson
Van Denman Thompson
Carl F. Mueller
Noble Cain
Robert Shaw
157
V. ANTHEMS IN THE RUSSIAN STYLE
Alexandr Grechaninov
Pavel Chesnokov
Noble Cain •
182
VI. THE NEGRO SPIRITUAL
Harry T. Burleigh
R. Nathaniel Dett
William L. Dawson
Commercial Advancements of the Spiritual
216
VII. SUMMARY AND CONCLUSIONS
220
BIBLIOGRAPHY
LIST OF MUSICAL EXAMPLES
Example Page
1. Dudley Buck. Festival Te Deum, Op. 45, no. 2

(G. Schirmer, no. 10027), measures 81-86 6
2. Dudley Buck. Cantate Domino, Op. 31, no. 4

(G. Schirmer, pi. 3617c), measures 82-86 8
3. Dudley Buck. The Lord of Hosts Is With Us

(European American Music, EA 380),
measures 12-15 9
4. Harry Rowe Shelley. The King of Love My Shepherd Is

5. Harry Rowe Shelley. Christian, the Morn Breaks Sweetly

O'er Thee (G. Schirmer, no. 1141), measures
22-26 14
6. Harry Rowe Shelley. Hark! Hark} My Soul!

(G. Schirmer, no. 3209), measures 33-36. . 15
7. Raymond H. Woodman. A Song in the Night

8. Raymond H. Woodman. 0 Lord I Will Exalt Thee

(Arthur P. Schmidt, no. 1550), measures
4-5 of the melody 18

50-57 19
10. Raymond H. Woodman. A Song in the Night

(G. Schirmer, no. 3884), measures 22-26. 19

167-178 20
12. William H. Neidlinger. The Birthday of a King

VI
V1X
13. William H. Neidlinger. The Birthday of a King

14. William H. Neidlinger. The Silent Sea

15. William C. Macfarlane. Ho, Everyone That Thirsteth

16. William C. Macfarlane. Ho, Everyone That Thirsteth

17. William C. Macfarlane. Ho} Everyone That Thirsteth

18. Horatio Parker. The Lord Is My Light

19. Horatio Parker. Rejoice in the Lord

(Oliver Ditson, no. 11,062), measures 44-48 37
20. T. Tertius Noble. Fierce Was the Wild Billow

21. T. Tertius Noble. Souls of the Righteous

22. T. Tertius Noble. Goto dark Gethsemane

(H. W. Gray, no. 501), measures 33-36 43
23. T. Tertius Noble. Go to Bark Gethsemane

24. H. Alexander Matthews. This Is the Promise

25. H. Alexander Matthews. Voices of the Sky

26. H. Alexander Matthews. Voices of the Sky

27. Seth Bingham. The Lord's Prayer

(Carl Fischer, CM 607), measures 1-7 . . . . . . . . 50
28. Seth Bingham. 0 Come and Mourn

(Galaxy, no. 1498), measures 101—108 ^1
29. H. Everett Titcomb. 0 Love Hou Deep

(H. W. Gray, CMR 2226), measures 1-6 . . . . . . . . 55
Vlll
30. Joseph W. Clokey. Treasures in Heaven

(Summy-Birchard, B-2010), measures 3-13 59
31. Joseph W. Clokey. Two Kings (J. Fischer and Bro. ,

no. 7211), measures 1-2. Joseph W. Clokey.
Canticle of Peace (Summy-Birchard, B-340),
measures 1-2 60
32. Joseph W. Clokey. Canticle of Peace

33. Joseph W. Clokey. Canticle, of Peace

34. Joseph W. Clokey. Canticle of Peace

(Summy-Birchard, B-340), measures 78 and 90 61
35. Philip James. By the Waters of Babylon

(H. W. Gray, no. 636), measures 29-32 and 59-65 . . . 64
36. Philip James. Blessed Are Ye That Hunger

(H. W. Gray, CMR 2438) , measures 18-28 . . . . . . . . 66
37. T. Frederick H. Candlyn. Christy Whose Glory Fills

the Skies (Carl Fischer, CM 622), measures
1-13 69
38. T. Frederick H. Candlyn. ChristWhose Glory Fills

the Skies (Carl Fischer, CM 622), measures
58-65 70
39. Leo Sowerby. Come Ye and Let Us Go Up

40. Leo Sowerby. My Heart Is Fixed, 0 God

(H. W. Gray, no. 2414), measures 4-11,
melody only 73
41. Leo Sowerby. I Will L i f t Up Mine Eyes

(Boston Music, no. 6350), measures 3-5,
melody only 73
42. Peter C. Lutkin. The Lord Bless You and Keep You
(Clayton F. Summy, no. 1089), measures 6-10 104
43. Peter C. Lutkin. The Lord Bless You and Keep You
(Clayton F. Summy, no. 1089), measures 14-23 .... 105
44. F. Melius Christiansen. Lullaby on Christmas Eve

(Augsburg, no, 136), measures 1-8 109
XX
45. F. Melius Christiansen. Lullaby on Christmas Eve

(Augsburg, no. 136), measures 31-32 HO
46. F. Melius Christiansen. Beautiful Savior

(Augsburg, no. 51), measures 31-38
47. F. Melius Christiansen. Lamb of God

(Augsburg, 11—0133), measures 23-28
48. Morten J. Luvaas. Sweetly Angel Choirs Ave Singing

(C. C. Birchard, no. 1283), measures 15-20
49. Morten J. Luvaas. 0 Sing Unto Him

(C. C. Birchard, no. 1355), measures 22-26
50. Morten J. Luvaas. Christ Has Arisen

(Neil A. Kjos, no. 2010), measures 45-54
51. Leland B. Sateren. Grieve Not the Holy Spirit

(B. F. Wood, no. 670), measures 26-27
52. Leland B. Sateren. Grieve Not the Holy Spirit

(B. F. Wood, no. 670), measures 46-49 1^0
53. David Hugh Jones. God Is a Spirit

(C. C. Birchard, no. 546), measures 28-32 122
54. George Lynn. Pass Me Not, 0 Gentle Savior

(Mills Music, RH-11), measures 15-23 ^4
55. George Lynn. Lonesome Valley (Theodore Presser,

312-40062), measures 5-8
56. Clarence Dickinson. The Shepherds' Story

(H. W. Gray, S.C. 30), measures 1-6
57. Clarence Dickinson. The Shepherds' Story

(H. W. Gray, S.C. 30), measures 57-61
58. Clarence Dickinson. Jesus, Refuge of the Weary

(H. W. Gray, no. 240), measures 1-7


61. Van Denman Thompson. Hymn to the Trinity

(Lorenz, no. 9578-20), measures 1-15 . . . . . . . . 133
62. Van Denman Thompson. Oh, For a Thousand Tongues
to Sing (Lorenz, no. 9705-2), measures
20-21 134
63. Van Denman Thompson. Oh, For a Thousand Tongues

to Sing (Lorenz, no. 9705-2), measures
34-40 135
64. Van Denman Thompson. Mercy and Truth

65. Van Denman Thompson, dear Lord, Who Once Upon

the Lake (G. Schirmer, no. 7666),
measures 32-38 138
66. Carl F. Mueller. Now Thank We All Our God

67. Carl F. Mueller. Create in Me a Clean Heart,

0 God (G. Schirmer, no. 8682), measures
29-36 142
68. Carl F. Mueller. Lead On, 0 King Eternal

(Carl Fischer, C.M. 6271), measures 24-29 144
69. Carl F. Mueller. Lead On, 0 King Eternal

(Carl Fischer, C.M. 6271), measures 62-66 145
70. Noble Cain. The Lord Is My Shepherd

(Harold Flammer, no. 84221), measures 21-24 149
71. Noble Cain. Christ, Whose Glory Fills

the Skies (Harold Flammer, no. 84270),
measures 24-34 151
72. Robert Shaw. For All the Saints (G. Schirmer,

no. 9908), measures 33-36 154
73. Robert Shaw. For All the Saints (G. Schirmer,

no. 9908), measures 49-52 154
74. Robert Shaw. All Creatures of Our God and King

75. Dmitry Bortnyansky. Cherubim Song No. 7

(Carl Fischer, CM 6315), measures 1-12 163
76. Alexandr Kastal'sky. 0 Gladsome Light No. 1

XI
77. Alexandr Grechaninov. Only Begotten Son

(J. Fischer and Bro., no. 4100),
measures 1-9 170
78. Alexandr Grechaninov. A Song of Joy

measures 1-9 171
79. Alexandr Grechaninov. The Lord's Prayer

(Raymond H. Hoffman, no. 22) ,
measures 1-4 172
80. Alexandr Grechaninov. The Lord's Prayer

(Raymond H. Hoffman, no. 22),
measures 23-26 172
81. Alexandr Grechaninov. Vouchsafe 0 Lord

(Galaxy, no. 1356), measure 33, melody
only, and A Song of Joy (J. Fischer and Bro.,
no. 6690), measure 14, melody in inversion 173
82. Pavel Chesnokov. Salvation Is Created

measures 1-21 175
83. Pavel Chesnokov. Let Thy Holy Presence

(C. C. Birchard, no. 12), measures 11-22 . . . . . . 178
84. Noble Cain. In the Night3 Christ Came Walking

85. Noble Cain. Holy Lord God (Harold Flammer,

no. 84157), measures 1-4 ..... 181
86. Harry T. Burleigh. Deep River (G. Schirmer,

no. 5815), measures 1-8 193
87. Harry T. Burleigh. Didn't My Lord Deliver Daniel?

(G. Ricordi, no. 1774), measures 21-28 194
88. Harry T. Burleigh. Steal Away (G. Ricordi,

no. 422), measures 35-39 196
89. R. Nathaniel Dett. Listen to the Lambs

90. R. Nathaniel Dett. Listen to the Lambs

91. R. Nathaniel Dett. Wasn't That a Mighty Day?

Xll
92. R. Nathaniel Dett. Wasntt That a Mighty Day?

93. R. Nathaniel Dett. Wasn't That a Mighty Day?

94. William L. Dawson. Soon-ah Wilt be Done

(Music Press, no. 102-A), measures 1-4 207
95. William L. Dawson. Ain-a That Good News!

96. William L. Dawson. Soon-ah Wilt be Done



99. William L. Dawson. There Is a Balm in Gilead

(Music Press, no. 105), measures 8-10 . 211
100. Noble Cain. De Gospel Train (Harold Flammer,

no. 81086), measures 29-32 213
101. Noble Cain. I Want to Be Ready (Boosey and

Hawkes, no. 1604), measures 57-63 214
102. Robert Shaw. Do-Don1t Touch-a My Garment

FOREWORD
Partially as a result of the encouragement offered by the
burgeoning music publishing industry over the last thirty years, the
amount of church music issued annually in America is staggering. Sift-
ing through this flood of new materials to find those pieces worthy of
performance in the church has become one of the major challenges facing
the modern church musician. In desperation, some musicians have ignored
all current publications, and instead perform only the proven classics
from previous centuries. Others dupe themselves into believing that
the more current the copyright date, the more appropriate the piece.
What is lacking is a clear method of assessing the relevance of the cur-
rent deluge, a situation that can be largely remedied by a better under-
standing of the antecedents of contemporary church music.
I have observed, after fourteen years of studying this genre,
the last eight in the actual practice of the craft, that the amount of
historical research given to the development of the anthem*" in America
decreases proportionately as one moves toward the present. Consequently,
the compositions of many composers who were writing during the first half
of this century remain on the shelves of church choral libraries because
1. For this study, an "anthem" is defined as an occasional choral compo-

sition in English, using a religious text and performed during the
worship service of Protestant churches. Leonard Ellinwood, "Anthem,"
The Harvard Dictionary of Music, 2nd ed., ed. by Willi Apel (Cambridge:
Belknap Press, 1969), 40.
XI11
XIV
the music director has either forgotten them, or if he is too young,
has no knowledge of them.
To bring these works to light, it was clear that the entire period
needed to be considered, for outside of the single chapter in Elwyn Wie-

2
nandt and Robert Young's The Anthem in England and America, information
was painfully scarce. To research such vast uncharted territory, judg-
ments were necessary in three areas: first, significant composers had to
be isolated, and second, a portion of these individual's best works had
to be selected for musical analysis. (Such limitations may have over-
looked a favorite composer or a favored composition of the reader—al-
though regrettable, this could not be avoided.) Third, because of the
breadth of the subject matter, the amount of secondary material relating
to the selected individuals varied greatly. For example, sufficient in-
formation was available for such notable figures as Dudley Buck, F. Melius
Christiansen, and Leo Sowerby, but little was uncovered for the likes of
such as William H. Neidlinger, Leland Sateren, and Alexandr Grechaninov.
As a result of these lacunae, the research may at times appear uneven.
The problem of sifting through thousands of anthems written by
hundreds of composers to find the most important examples was formidable.
To gain a sense of direction, I compiled a list of fifty-four prominent
composers and sent it to choral music directors in church-related col-
leges and universities throughout the United States, asking them to rank
each composer according to perceived importance. The diversity of these
2. Elwyn A. Wienandt and Robert H. Young, The Anthem in England and

America (New York: The Free Press, 1970), 403-459.
XV
directors' opinions demonstrated that a simple chronological survey of
anthem composers based on, for example, birthdates would be of little
use or interest to scholars and church musicians. It quickly became
apparent that a broader framework was needed in which to establish the
criteria for grouping and evaluating the material. The search for the
larger internal and external influences that might explain not only the
variance in the style of the compositions of different composers, but
also the stylistic evolution of individuals culminated in the delineating
of five major factors. These were the development of the quartet anthem,
the establishment of the Anglican tradition in American churches, the
composition of unaccompanied anthems, which resulted from the practice
of a cappella singing by American collegiate and high school choirs, the
editions and imitations of church music from Russia, and the arrangements
of Negro folksongs.
Once these broader factors were defined, the task of determining
who were the significant composers within each category was begun. In
the early stages, I relied heavily on the pioneer work done by Wienandt
and Young; additions and deletions were made as the research developed.
When a composer was selected for inclusion, examples of his anthems were
O
gathered and arranged chronologically according to publication. As a
rule, SATB voicing was sought because it is the most common arrangement
for both the church and school choirs. From this group of anthems, pieces
3. I am grateful to Dr. Phillip Sims and the music library of Southwestern

Baptist Theological Seminary, Ft. Worth, Texas,for their gracious assist-
ance in securing materials.
XVI
were extracted that appeared to represent best the composer's develop-
ment, and these were examined in detail.
The actual analysis of the music consisted of an examination of
six areas: the overall sound, that is, an evaluation of the composer's
choral style and an identification of particular features; the use of
accompaniment; the harmonic structure; the use of melody; the use of
rhythm; and the overall formal design.
The scarcity of secondary materials produced the most trying
problems with the study. Many books give only an overview of the twen-
tieth century that is too general to be of use. Music encyclopedias
such as The New Grove Dictionary of Musio and Musicians (1980) or the
earlier Grove's Dictionary of Music and Musicians: American Supplement
(1937) provided excellent material when the composer was listed, but for
the most part, the composers could be located only in isolated articles
found in periodicals related to organists, such as The Diapason or The
Amertcan Organist, or periodicals related to music educators, such as
The Music Teachers' National Association Proceedings or the Yearbook of
the Music Educators National Conference. Doctoral dissertations and
personal contacts provided invaluable assistance.
Because the anthem is the primary vehicle through which the
modern church musician demonstrates his craft, the understanding of this
genre is critical to his ultimate success. By fostering a clearer under-
standing of American church music written and sung during the first half
of this century, this document will serve as a valuable reference manual.
By gaining a clearer understanding of the music composed during these

XVII
fifty years, it is likely that the reader will resurrect or discover
pieces in his library that should be heard in both church worship and
the concert hall. Finally, by understanding the immediate antecedents
of the modern anthem, the church musician will have a more intelligent
basis by which to judge new material. This will not only make his job
easier, but will, in the process, hopefully upgrade the quality of music
which he presents each Sunday to his congregation.

Chapter I
THE QUARTET ANTHEM
During the last half of the nineteenth century, the more
fashionable churches in larger American cities began to augment their
existing volunteer choirs with a quartet of paid soloists.1 Profes-
sional musicians were brought into the churches to enable the choir to
perform musical literature of greater difficulty that was deemed to be
of a higher quality. During the two decades following the Civil War,
the addition of a paid quartet brought the music of composers like
Handel, Haydn, Mendelssohn, and Rossini to many churches in the Eastern

o
states and even to a few in the pioneer West. The plan, however, fal-
tered, for evidence shows that as the quartets were added, volunteers
withdrew from the larger ensembles, so that, in many churches, it was
necessary to abandon the volunteer choir altogether and replace it
entirely with a hired quartet. Just as the quartet replaced the
volunteer ensemble, commonly referred to as the "chorus choir," so
1« Although an exact date of origin is difficult to determine, most

authors date the first quartet choirs c. 1850. For example, Leonard
Ellinwood places that of St. Michael's, Charleston c. 1840. Leonard
Ellinwood, The History of American Church Music (New York: More-
house-Gorham, 1953), 74.
2. Robert Stevenson, "Church Music: A Century of Contrasts," One

Hundred Years of Music in America, ed. by Paul Henry Lang (New York:
G. Schirmer, 1961), 93.
3. Ellinwood, 73.
they in turn passed out of vogue during the early decades of this
century, and the volunteer choir returned in force.^
From c. 1860 to c. 1910, a wealth of church music was pro-
duced by American composers that was intended for either solo quartet
or for chorus choir with interpolated solo, duet, and quartet sections.^
Stylistically, these pieces are characterized by a melodic sweetness
that results from an abundant use of chromaticism and by the use of
thick chordal accompaniments, both of which are characteristics common
to the period. Scholars and church musicians in this century have largely
rejected this body of music, claiming that these two features were abused.
While this is undoubtedly true in many cases, the music of these com-
posers strongly appealed to the audiences for which it was written.
For the first time in the history of American church music, the attention
of church congregations was directed away from the compositions of the
Europeans toward those by American composers; this ultimately created an
accepting market for American-composed church music in this century.
4. In an article dated 1884, S. N. Penfield observed this gradual change

taking place. S. N. Penfield, "Church Music from the Chorister's
Standpoint," Music Teachers' National Association Proceedings
(1884), 102.
5. Determining the ensemble for which a given anthem was intended is

not always an easy matter. While the inclusion of passages for solo
or duet certainly suggests that the piece was intended for quartet,
unmarked choral passages could have been written for solo quartet,
chorus choir, or both, and undoubtedly they were performed by what-
ever means were available. The problem of establishing the choral
group intended in those unmarked anthems that contain no solo or
duet passages is obviously compounded, for as Dudley Buck states,
there are no inherent musical characteristics in the tune to suggest
performance guidelines. Dudley Buck, Illustrations in Choir Accom-
paniment with Hints in Registration (New York, 1892), facsimile
edition (New York: AMS Press, 1971), 29.
Dudley Buck
Hailed in 1890 by the New York Herald as the leading composer
of American church music,6 Dudley Buck (1839-1909) composed scores of
anthems that made an unprecedented impact on American churchgoers.^
Because it was expected that he would follow the career of his father,
who was a wealthy shipping merchant, Buck received no musical training
as a child. In 1855, the same year in which he entered Trinity College
in his hometown of Hartford, Connecticut, he acquired his first piano.
Within a short time, he had become proficient enough to be employed by
the St. John s Episcopal Church in Hartford as their organist.
Convincing his parents to assist him financially, Buck left
New England for Leipzig, Germany, in 1858, to pursue the necessary
training for a career in music—an occupation considered almost scan-
dalous in the mind of his New England friends.^ After three years of
6. "Brooklyn Composers," New York Herald (July 5, 1890) cited in

William K. Gallo, "The Life and Church Music of Dudley Buck (1839-
1909) (unpublished Ph.D. dissertation, The Catholic University of
America, 1968), 98.
7. The following biographical information is drawn from William K. Gallo,

"The Life and Church Music of Dudley Buck (1839-1909)" (unpublished
Ph.D. dissertation, The Catholic University of America, 1968), 3-111;
William K. Gallo, "Buck, Dudley," The New Grove Dictionary of Music
and Musicians, ed. by Stanley Sadie (London: Macmillan, 1980),
III, 408-409; Janet M. Green, "Buck, Dudley," The American History
and Encyclopedia of Music (New York: Irving Squire, 1910), V, 104—
106; Rupert Hughes, Contemporary American Composers: Being a Study
of the Music of This Country, its Present Conditions and its Future,
with Critical Estimates and Biographies of the Principal Living
Composers... (Boston: L. C. Page, 1900), 165—174; and Louis C. Elson,
The History of American Music (New York: Macmillan, 1925), 230-233.
8. Green, 104.
study in theory, composition, orchestration, piano, and organ, he left
Leipzig for an additional year in Paris. In 1862, Buck returned to
Hartford, where he became organist at the North Congregational Church,
and where he taught music privately.9 While in Hartford, he published
his first collection of anthems in which he explained the proper manner
of using the organ to accompany choral singing. In addition to aug-
menting the existing anthem repertory, this collection was a valuable
resource for church organists.
In 1869, Buck left Hartford for Chicago, where he accepted the
position of organist at the St. James Church and subsequently published
a second book of anthems, which contained compositions written for the
Chicago choir. Several of his early works and personal effects were
destroyed when the great fire swept the city in 1871. Although he was
unharmed, Buck decided to move to Boston, where he assumed the organist's
position at St. Paul's Church, now known as the Cathedral Church of
St. Paul, and the responsibility for playing and maintaining the organ
at Music Hall. During his residence there, he also taught at the
New England Conservatory of Music. In the summer of 1875, at the in-
vitation of Theodore Thomas, Buck was named assistant conductor of the
Thomas Orchestra in New York. At the end of the summer season, he
moved his residence a final time to Brooklyn, where he founded the
9. While some sources place Buck at the Park Church upon his return to
Hartford, William Gallo, who is to be considered a most reliable
source, disagrees, placing him instead at the North Congregational
Church. Gallo, "The Life and Church Music," 8, and "Buck," 408.
Apollo Club, a singing organization for men, and where he became
organist at the Holy Trinity Church, a position he retained for
twenty-five years until he retired from church music in 1903. Among
his many honors, he served as Honorary President (1896-1897) of the
newly organized American Guild of Organists, of which he was a foun-
der.
Although Buck composed music for a variety of vocal and in-
strumental genres, his largest group of works were those written for
church choirs. The majority of these 112 works were written, and
more than eighty of them were published between 1864 and 1873, the
time during which he served the North Congregational Church in Hartford
and the St. James Church in Chicago as organist.11
Buck composed anthems for both solo quartet and for chorus
choir with sections designated for solo quartet. Although he per-
sonally preferred volunteer chorus choirs,12 he recognized the primacy
of the quartet choir in American churches and accordingly composed music
for them. Because Buck's style is basically consistent throughout his
anthems, it is possible to make general observations concerning the
musical characteristics. The ensemble for which a choral passage is
intended is usually indicated in the score with the words "chorus" for
the full ensemble and "solo" for the quartet. These choral sections
feature four-voice homophonic writing with unison passages and soprano-
10. A complete bibliography of Buck's compositions is included in Gallo,

"The Life and Church Music," 219-277.
11. Ibid., 31.
12. Buck, Illustrations > 28.

tenor or alto-bass doublings occurring only occasionally. Passages
for the solo voices from the quartets abound, with no voice part ex-
eluded from solo work.
Choral sections are supported by thick, bombastic organ accom-
paniments that generally double the vocal score; however, solo sections
are commonly accompanied with either block chords or running scale
passages that are idiomatic to the harp or piano. This latter style
is typically found in sections set in compound meter, as the passage
for tenor or alto solo from Buck's Festival Te Deum, Op. 45, no. 2 , ^
clearly illustrates (Example 1).
Example 1. Dudley Buck, Festival Te deum, Op. 45, no. 2 (G. Schirmer
no. 10027), measures 81-86. '
Tenor of
Contralto Solo Andante cantabile. J -56
WhentW took-est, thou took est up-on tW, to de-
13. G. Schirmer, 1870, no. 10027.

Texts are drawn most frequently from the Canticles for the
Morning, Evening, and Communion Services of the Episcopal Church.
As Gallo observes, however, various scriptural texts along with other
occasional canticles are also set. Metrical texts are generally
drawn from religious poetry or from hymns found in the Episcopal
Common Praise or Hymns Ancient and Modern }h
Buck's harmonizations are conservative even for his day. While
pieces generally begin and end in the same key, a piece begun in minor
normally concludes in the parallel major. Key changes often indicate
textual divisions or changes in the character of the text, but sudden
temporary shifts away from the key within a section are most commonly
used to illustrate a dramatic moment or thought in the text. An ex-
ample of the latter is found in Cantate Domino , Op. 31, no. 4, 15 in
which the harmony accompanying the text "Let the floods clap their
hands, and let the hills be joyful together before the Lord" completes
the transition from the pensive tonic key of c minor to the bright,
relative key of E-flat major on the word "joyful" (Example 2). Triads
and dominant seventh chords are plentiful and are often mixed with a
variety of altered chords, which include diminished sevenths, augmented
sixths,and Neapolitan chords. Gallo points out that augmented sixth
chords are used to produce special, overall climactic effects, while
Neapolitan chords seem to be reserved for the illustration of specific
14. Gallo, "The Life and Church Music," 115-116.
15. G. Schirmer, 1868, pi. 3617c.

Example 2. Dudley Buck, Cantate Domino, Op. 31, no. 4 (G. Schirmer,
pl. 3617c), measures 82-86,
Lef tfie flood? clap karxk, aiwl let "Vo-gctK-er before tke Lord;
-rff—I N.I ^ H U n U ^
Lefihejj^daptelnnirdiKll^^kllff bejoy-ftt| fo-êA-er before*}* Lord;

Q ft j*
16
J ^
words. Chromatic melodic lines, a trademark of Buck and his pu-
pils, are frequently harmonized by altered chords set over a pedal
point in the bass line, as seen in The Lord of Hosts Is With Us17
(Example 3).
Form is most often dictated by the text, a reflection of
Buck's emphasis on the importance of the latter. Considered to
be one of the distinctive trademarks of his music, Buck's textual
16. Gallo, "The Life and Church Music," 143, 146.
17. European American Music, 1978, EA 380.

Example 3. Dudley Buck, The Lord of Hosts Is With Us (European
American Music, EA 380), measures 12-15.
approach to musical form produces severe weaknesses in his music.
An occasional restatement of the opening theme is often the only
unifying device used, and this creates the effect of a series of
somewhat unrelated musical sections loosely strung together. Tex-
tual divisions are emphasized in the score with a textural change.
Unless the text is metrical, such changes of texture normally occur
at the conclusion of a complete grammatical thought, which may en-
compass several verses of text.
In spite of some musical shortcomings, Buck produced a higher
calibre of music for the church than was common during his day. His
10
music was so popular with the American public that each new publica-
tion was immediately reviewed in the Atlantic Monthly.18 It was his
a-bility to raise musical standards, and at the same time, appeal to
the average listener that made Buck unique.
The stylistic features of Buck's anthems were passed on to
his students, who continued to write for a vast market of churchgoers
anxious to hear more of the same. Of Buck's pupils, the most influ-
ential in carrying his musical style into the twentieth century included
Harry Rowe Shelley, Raymond H. Woodman, and William H. Neidlinger.
Harry Rowe Shelley
Harry Rowe Shelley (1858-1947) achieved substantial popularity
during his lifetime and was considered by music critics to be one of
the most promising musicians of his day.19 Born in New Haven, Connec-
ticut, he attended Yale University and subsequently studied with Buck
18. Ellinwood, 114.
19. Janet M. Green, "Shelley, Harry Rowe," The American History and
Encyclopedia of Music (New York: Irving Squire, 1910), VI, 319.
Biographical information is also drawn from Waldo Seldon Pratt and
Charles N. Boyd, "Shelley, Harry Rowe," Grove's Dictionary of
Music and Musicians: American Supplement (New York: Macmillan,
1937), VI, 361; Rupert Hughes, Contemporary American Composers:
Being a Study of the Music of This Country} its Present Condi-
tions and its Future, with Critical Estimates and Biographies of
the Principal Living Composers. . . (Boston: L. C. Page, 1900),
304-305; Waldo Seldon Pratt, "Shelley, Harry Rowe," The Neu En-'
cyclopedia of Music and Musicians (New York: Macmillan, 1937),
753; and Nicolas Slonimsky, "Shelley, Harry Rowe," Baker's Bio-
graphical Dictionary of Musicians, sixth ed. (New York: Schirmer
Books, 1978), 1591.
11
and Dvorak. Although he held the position of organist in a number of
churches, both m Connecticut and in Brooklyn, his most notable tenure
was at the Plymouth Congregational Church in Brooklyn, where Henry
Ward Beecher was pastor. Additionally, he taught in New York at the
Metropolitan College of Music and the American Institute of Applied
Music.
Like Buck, Shelley composed anthems for both quartet and
chorus choirs; however, his intentions are not as carefully notated
in the score. For example, in some pieces such as Christian, the
Morn Breaks Sweetly O'er Thee,20 choral parts are marked "Quartette
or Chorus," while other pieces such as his famous The King of Love
21
My Shepherd Is, include some choral sections marked "Chorus" and
others marked "Soprano," "Alto," "Tenor," and "Bass," which probably
indicates that they were intended for solo quartet.22 Melodic tune-
fulness is the most delightful quality of Shelley's anthems. Rupert
Sircom rightly states that, with a simple textual exchange, many of
these anthems could have doubled as secular love songs.2^ Solo
passages are usually found at the beginning of a piece and these
20. G. Schirmer, 1887, no. 1141.
21. G. Schirmer, 1886, no. 3125.
22. Partial bibliographies of Shelley's compositions are included in

Pratt and Boyd, "Shelley,' Grove's, 361; Pratt, "Shelley," New
Encyclopedia, 753; and Slonimsky, 1591. None include a listing
of anthems.
23. Rupert Sircom, "What Is Church Music?" Yearbook of the Music

Educators National Conference ( 1 9 3 7 ) , 343.
12
together with duet passages often make up the greater portion of an an-
24
-i. »
them. Not surprisingly, Shelley's best writing is located in these
passages, for his choral passages are rather uninteresting, consisting
primarily of simple block chords that merely support a soprano melody.
Like Buck, Shelley wrote frequently for unison voices, and when he
used four-part writing, he fashioned it much like that of a hymn in
which little counterpoint or melodic interest is given to the inner
voices.
Avoiding the bombastic, heavy accompaniments of his teacher,
Shelley accompanied his more lyrical melodies with a lighter tex-
ture. A typical example is the memorable soprano-bass duet from
The King of Love My Shepherd Is, in which the rocking eighth-note
pattern in the accompaniment provides subtle counterpoint to the
duet (Example 4). This constant rhythmical motion supplies the im-
petus needed to propel the pieces from beginning to end and helps
to conceal the lack of musical direction resulting from their sta-
tic harmonic quality. Although there are numerous examples of
altered chords above a pedal bass, an inheritance from Buck, modu-
lations are infrequent, and when they occur they may be unusual.
24. For example, in The King of Love My Shepherd Is, solo-duet

sections make up 29 out of 71 measures, or 41%, while in
Hark! Hark, My Soul! (G. Schirmer, 1887, no. 3209), they make
up 92 out of 162 measures, or 68%. The amount of material
given to solo voices leads one to assume that Shelley wrote
with quartet in mind whether or not he so indicated his in-
tentions in the text.
13
Example 4. Harry Rowe Shelley, The King of Love My Shepherd Is

(G. Schirmer, no. 3125), measures 24-28.
feei-eth Perverse did fool ish, ojt I ^tray^But yet in love He sought
Per-verce anîfool-islôjt I stotyclBuf yet in love He soucjlrt we,
For example, in Christian} the Morn Breaks Sweetly O'er Thee, an
enharmonic modulation is used to shift the key from A-flat major
to E major. Although this modulation is perceived aurally as en-
compassing the distance of a major third (E to G-sharp), the actual
notation suggests the relationship of an augmented fifth (Example
5). Most of these pieces are written in the flat keys, producing
a warm, relaxed mood. When the brighter, sharp keys are used,
their duration is temporary.

14
Example 5. Harry Rowe Shelley, Christians the Morn Breaks Sweetly

O'er Thee (G. Schirmer, no. 1141), measures 22-26.
Bf\SS SOLO
ligU tang out — for thee
The sweetness of the tunes, for which Shelley is famous,
is created by chromatic passages and melodic duets consisting of
parallel thirds or sixths. Examples of the latter are found not
only in passages such as in Example Four, but they are also seen
in passages for solo voice. By doubling the solo melody and adding
a countermelody in thirds or sixths, a duet is written into the
organ accompaniment (Example 6). The predominance of solo material
in Shelley's anthems apparently led him to simplify and shorten
the formal design, for unlike the lengthy multisectional pieces
of Buck, Shelley's pieces are often constructed in a simple two-
part form in which each part begins with solo voice and concludes
with a chorus.
15
Example 6. Harry Rowe Shelley, Hark! Eark3 My Soul! (G. Schirmer

no. 3209), measures 33-36. '
An -gels of Je 5as, A * -êls o4 liglit;
Raymond H. Woodman
Born in Brooklyn, Raymond H. Woodman (1861-1943) began his
musical study under the tutelage of his father, who was organist
choirmaster at various churches in New York City and Brooklyn and who
taught at the Rutgers and Packer Institutes.25 In addition to studying
with Buck (1881-1885), Woodman was one of the few Americans to study
with Cesar Franck. He served churches as organist-choirmaster in
25. The following biographical information is drawn from Waldo Seldon

Pratt and Charles N. Boyd, "Woodman, Raymond Huntington,11 Grove's
Dictionary of Music and Musicians: American Supplement (New York:
Macmillan, 1937), VI, 408; Janet M. Green, "Woodman, Raymond
Huntington," The American History and Encyclopedia of Music
(New York: Irving Squire, 1910), VI, 492; and Nicolas Slonimsky,
"Woodman, Raymond Huntington," Baker's Biographical Dictionary of
Musicians, sixth ed. (New York: Schirmer Books, 1978), 1914.
16
Flushing, New York (1875-1879), Norwich, Connecticut (1879-1880),
and Brooklyn (1880-1941). The latter position, his longest tenure,
was at the First Presbyterian Church of Brooklyn. Woodman taught
music at the Metropolitan College of Music (1889-1898), the Packer
Institute (after 1894), and the American Institute of Applied Music
(after 1909). From 1894 to 1897, he edited the "church-music de-
partment" for the New York Evangelist.
Woodman began his career in church music as the director of
a quartet of singers, who sang mostly operatic arrangements with
sacred texts. Later, he included the compositions of Buck and various
English composers in his repertory and replaced the quartet with a
salaried chorus, an innovation in non-liturgical churches of his day.
He subsequently gave numerous performances of oratorios with this

26
latter group. As a composer, he published some one hundred fifty
. . 27
compositions, among them numerous anthems.
Like Buck, Woodman wrote anthems to be sung by SATB chorus or
quartet; however, unlike other composers of quartet pieces, Woodman
identified the ensemble for which he wrote a given anthem more clearly
in some of his later publications that were issued after the quartet
style had declined in popularity. For example, in his famous A Song

28
in the Night, the choral sections are unmarked, but the extensive
26. Charles N. Boyd, "Choir Development Since 1876, and the Preeminent
Choirmasters," Music Teachers' National Association Pvoceedinas
y
(1928), 67.
27. A bibliography of his works was unavailable.
28. G. Schirmer, 1898, no. 3884.

17
passages given to baritone and soprano soloists suggest the intention
for quartet. In 1910, Woodman published God So Loved the Wovld,^
which bears the inscription "Quartet or Chorus then twenty years

Ofl
later, he brought out 0 Lord J Will Exalt Thee, in which he clearly
differentiated between those choral passages to be sung by "solo"
(quartet) and those to be sung by the "chorus." All of Woodman's
anthems reflect a degree of musical complexity not evident in those
works of his predecessors, for choral sections include occasional
a cappella passages, and solo sections more resemble those found in
oratorios than they do Shelley's "love songs" (Example 7). Accom-
paniments are somewhat thick-textured and frequently include chro-
matically altered scale passages that function as countermelodies
to voice parts.
Like Buck, Woodman often chose through-composed formal schemes
for his anthems, and he unified them with recurring rhythms, motives,
or portions of previously stated themes. An interesting example of a
recurring rhythmical pattern is found in the anthem 0 Lord I Will
Exalt Thee, in which the rhythm j n , found in the first measure
of the vocal line (Example 8) returns throughout the piece in both the
voice and the accompaniment (Example 9).
29. G. Schirmer, 1910, no. 5393.
30. Arthur P. Schmidt, 1930, no. 1550.

18
Example 7. Raymond H. Woodman, A Song in the Night (G. Schirmer,

no. 3884), measures 16-21.
All ye in - )ul> - it - ants of tlie world and dwellers on tlic
Gt. Diaps
I
earth-See ye! and Jienlie i)low£th a. trumpet Hear_ ye!

ltd
i 5 m full
Example 8. Raymond H. Woodman, 0 Lord I Will Exalt Thee (Arthur P,

Schmidt, no. 1550), measures 4-5 of the melody.
0 Lord I will ex alt Thi

ice.
19
Example 9. Raymond H. Woodman, 0 Lord I Will Exalt Thee (Arthur P,

Schmidt, no. 1550), measures 50-57.
Andante con moto (J *|08)

t*mf Bar. (or Contralto) Solo
Let all them that trust in Thee re-jofce,

Ai«/LÎNF^ MAFN f.J MB V
r r
TI>cy$UJ ai - way W cjtv- mcj of tLnb, be-caasellou defended them.
Increased complexity is also evident in the harmonic construc-
tion of Woodmanfs anthems. Modulations from section to section and
within sections, and frequent use of altered chords, especially dimi-
nished chords, over pedal points extending several measures are common
(Example 10). Likewise, the harmony of the vocal parts reflects a degree
Example 10. Raymond H. Woodman, A Song in the Night (G. Schirmer,

no. 3884), measures 22-26.
O v Flufe. 8
« J~P
J
20
of sophistication that seems unusual for the period. An example is
found in 0 Lovd I W"itl Exalt Theetixi which the harmony of the passage
accomodates chromatic motion in the bass voice for twelve measures
(Example 11).
Example 11. Raymond H. Woodman, 0 Lord I Witt Exatt Thee (Arthur P.

Schmidt, no. 1550), measures 167-178.
/J a —,
Xj ~
1
I will praise TKy Name I Will praise
1 U— 1
1
O 1
Tly Name I will praise
V J !
j
u . . ...J
1 will praise TKy Name Will praise

-e- -o- o \>J *—£=5 v« ^
: 1 ;- 1 ^ id
s
praise Tliy Name Will praise
nl , m 1 1 J .
1
= =
T 1 b~%
' ' fro ^
Thy Name . For Thou art my God;
ame
For Thou..
21
William H. Neidlinger
William H. Neidlinger (1863-1924) received his early musical
training in New York and London, and by 1890, he was established in

31
Brooklyn as an organist and conductor. In 1896, he traveled to Eu-
rope, where he taught in London and Paris for two years. Returning to
the United States in 1898, Neidlinger settled in Chicago, where he became
known as a specialist in child psychology and a composer of songs for
children. Subsequently, he established a school for subnormal children
at East Orange, New Jersey. Of his publications, one of the most in-
teresting is a special study entitled "Small Songs for Small Children,"
which was intended for use by kindergarten children.
One of Neidlinger's most famous anthems is the Christmas piece

32
entitled The Bivthdccy of a King, which bears the earmarks of both
33
Buck and Shelley. The anthem is written for baritone soloist and
chorus, and the extended passages for solo voice clearly suggest the
Pratt and Charles N. Boyd, "Neidlinger, William Harold," Grove's
Macmillan, 1937), VI, 74; Janet M. Green, "Neidlinger, William
Harold," The American History and Encyclopedia of Music (New York:
Irving Squire, 1910), VI, 88; Rupert Hughes, Contemporary American
Composers: Being a Study of the Music in This Country3 its Pre-
sent Conditions and its Future, with Critical Estimates and Bio-
graphies of the Principal Living Composers. .. (Boston: L. C. Page,
1900), 391-394; and Nicolas Slonimsky, "Neidlinger, William Harold,"
Baker's Biographical dictionary of Musicians, sixth ed. (New York:
Schirmer Books, 1978), 1222.
32. G. Schirmer, 1890, no. 3576.
33. Partial bibliographies of Neidlinger's compositions are included

in Pratt and Boyd, 74; and Slonimsky, 1222. Neither source in-
cludes a listing of anthems.
22
quartet style, even though choral passages are undesignated. The first
stanza of the two-part strophic piece begins with a somewhat bombastic
introduction in which the opening motive, in the tonic key, is im-
mediately repeated a third lower before sliding chromatically from the
dominant back to the tonic. Interestingly, the introduction, which is
subsequently used as the interlude between the two stanzas, bears no
relation to the vocal music (Example 12).
Example 12. William H. Neidlinger, The Birthday of a King (G. Schirmer,

no. 3576), measures 1-10.
l i t - t i e viUoge o f B e t h - le-HemTkere lay acltiUooe Jay,

23
Like Shelley, Neidlinger's best writing appears in the lengthy
solo passages, with little innovation given to choral sections. When
accompanying the baritone solo, the organ displays both melodic and
rhythmic independence, but when accompanying choral sections, the organ
merely doubles the vocal parts (Example 13).
Example 13. William H. Neidlinger, The Birthday of a King (G. Schirmer,

no. 3576), measures 16-24.
Bar/tone Solo
ow Hr rano,
r m i vi
i j — , — p
24
CHORUS 5QPRKNO
M-le-la-ta.! 0 how the an -gels sang.M" le

ALTO
CHORUS TENOR
Al * le-lu. -lot! 0 how the an-gels Saiujt Aj_^ le

~ m "T" •—»-
Diatonic harmonies predominate; however, they are often colored
with altered chords, of which Neidlinger's favorites are diminished
seventh chords. In spite of characteristic rising and falling chro-
matic lines, the pieces, like those of Shelley, suffer from a lack of
modulation and become harmonically stagnant. Similarly, Neidlinger's
melodies lack variety because of their simple conjunct motion. He
does, however, use this latter characteristic effectively in the anthem

3A
The Silent Sea, which is based on a mystical poem by John Greenleaf
Whittier. In the choral refrain, the impression of a flowing sea is
created by a melody consisting of three ascending and two descending
conjunct notes (Example 14).
34. G. Schirmer, 1908, no. 5196.

25
Example 14 William H. Neidlinger, The Silent Sea (G. Schirmer.

no. 5196), measures 27-32.
Poco pui l e n t o
Bg-sijejj^sea, the si-lent sea, ^caTlL
Be- side tlie 5CA, "tlic si-lent SC4, (jc-$i'clc SC2i.
so, be - 5ide
Poco lent© 0 « ^3)
tic A-lent jea, _ _ I wait A e oar, _ t k muf-fleJ oar.
wait the muf — •- — fled oar.
the a - lent sea, _ I wait tie oai; _ the n r n f - f W oar
tne muf -
26
Of Buck's three pupils discussed, undoubtedly Harry Rowe
Shelley made the most lasting impression on his public. Through
his tuneful melodies and abundant use of chromaticism, he became
something of a legend in his own day.35 By musical standards, the
anthems of Woodman were superior to those of Shelley; however, they
lacked both the tunefulness and harmonic sweetness that made Shelley's
compositions so popular. Neidlinger's melodies approached the tune-
fulness of Shelley's, but his anthems generally lack the more subtle
refinements found in the pieces by both Shelley and Woodman. Although
the saccharine quality of all of these pieces may be somewhat cloying
to our modern ears, it must be remembered that these anthems enjoyed
great favor with churchgoers, and this, after all, was the true mea-
sure of a composer's success.
William C. Macfarlane
The influence of the anthem composed for quartet choir extended
well into the present century in the works of such composers as William
C. Macfarlane (1870-1945).36 Born in London, he was brought to the
35. Ellinwood, 154.

Pratt and Charles N. Boyd, "Macfarlane, William C.," Grove's
DzcUonary of Music and Musicians: American Supplement (New York:
Macmillan, 1937), VI, 278; Waldo Seldon Pratt, "Macfarlane, William
arles, The New Encyclopedia of Music and Musicians (New York:
cmillan, 1937), 555; and Nicolas Slonimsky, "Macfarlane, William
Charles Baker s Biographical Dictionary of Musicians, sixth ed.
(New York: Schirmer Books, 1978), 1062.
27
United States at age four and received his musical education in
New York. Macfarlane's father administered his first music lessons,
and as a boy he sang in the choir at New York's Christ Church. He
studied organ and theory with S. P. Warren and made his concert debut
at the organ in 1886.
From 1885, Macfarlane held various positions as organist in
New York churches, including posts at All Souls' (1889-1900), Temple
Emanu-El (1898-1912), and St. Thomas' (1900-1912). From 1912 to 1919,
he served as municipal organist in Portland, Maine, where he performed
some forty recitals annually and conducted various other musical
events. In 1896, he became one of the founders of the American Guild
of Organists; in 1918, he received an honorary doctorate in music from
Bates College in Lewiston, Maine; and in 1941, he retired to North
Conway, New Hampshire. During his career, he received several com-
position awards for his skill as an anthem composer.
Macfarlane's anthem Ho, Everyone That Thirsteth37 represents
his early compositional style. 3 8 Scored for SATB chorus, solo quartet,
and either soprano or tenor solo, the anthem is couched in the style
of Buck, with all of its attendant Victorian characteristics. The
organ introduction, which begins on the chord of the dominant and ex-
pands outward through successive triads and dominant seventh chords
37. G. Schirmer, 1906, no. 4808.
38. A partial bibliography of Macfarlane T s compositions is included

in Slonimsky, 1062. This list does not include his anthems.
28
for eight measures before settling on the tonic, sets the stage for
the entrance of the soloist, who utters the opening exclamation on a
sustained high e—natural (Example 15). The operatic quality of the
Example 15. William C. Macfarlane, Ho3 Everyone That Thirsteth

Allpqro 'modera'to
Tenor ( ° r S o prano) S o l o
opening solo line continues throughout the work, even to the final note
where the soloist concludes the anthem with a dramatic leap from the
dominant to the tonic pitch that includes the tonic anticipation so
customary in nineteenth—century opera (Example 16). The choral portions
are somewhat dull when compared to the solo passages. Despite their
dramatic opening with the repeated "Ho! Ho!,,f they quickly deteriorate
into a rather staid chordal format. Macfarlane contrasts the bombastic
choral sections with a simple pianissimo quartet, thereby producing an
interesting choral contrast.
A feeling of motion is created throughout the piece by fre-
quent harmonic fluctuations. In Example Seventeen, Macfarlane sets
up an internal direct modulation from the tonic key of A major to
G major, in which he passes through six different key areas (Example
17).
29
Example 16. William C. Macfarlane, Ho, Everyone That Thirsteth

-retard.-
come and U»e

TUari-
txjuJ I Ue
ritarcL -=
. # > >
TIOVJL) 1
"now X live Hirm-

•Tt-taxd-
> >
. -e- -0-
N
TlOU) X
The harmonic motion is no more unusual than the formal structure
of the anthem. The first half of the anthem is cast in a typical stro-
phic verse-chorus, with chorus repeating the same material between the
verses, but midway (mm. 71ff), the piece is recast in a through-composed
structure, in which the chorus repeats material from the preceding verse.
Macfarlane's compositional style evolved rather dramatically.
In 1928, he published an a cappella anthem, Open Our Eyes, that re-
flects little of the Victorian style. The entire piece, which is set
39. G. Schirmer, 1928, no. 7273.

30
Example 17. William C. Macfarlane, Ho3 Everyone That Thivsteth

Solo A owec
W U r - U J o ye spend mon - ey for ihat wliich \s not Weai? and your
f „ dower A J.
VJ
la - tor for t W wKicli sat- is-fj_ efcli not?

1
J .f ryj V
- • ' i |
^ ^ ? n i •» ^ o
1
^ ^ — l _ frj; J J j
V
G' vi' ii Y '
in 3/2 meter to accomodate the rather wordy text, is dominated by a
homophonic a cappella chorus. No passages for either soloists or
quartet are included. Some fourteen years later, he published 0 Rest
in the Lord, the text of which is drawn from Psalm 37. 40 Throughout
the anthem, the harmonic scheme depicts the theme of resting in the
Lord by sinking chromatically through a number of unrelated, often
vaguely dissonant harmonies and arriving at the tonic only at its
conclusion.
40. G. Schirmer, 1942, no. 8925.

31
The style of the quartet anthem, as can be seen in the works
of Macfarlane, was eventually replaced sometime during the first quar-
ter of the century with more reserved harmonies and with the full choir,
changes brought about by an increasing influence of the Anglican tra-
dition and by the rise of a cappella singing.^ Although solo quartets
disappeared from most American churches rather early in the century,
many of the anthems written for those ensembles continued to be per-
formed in the churches throughout the first half of the century, as
passages for solo quartet were either delegated to a quartet drawn from
the larger volunteer choir, or they were simply sung by the entire group,
41. For an account of these events, see Chapters Two, Three, and Four.
Chapter II
ANTHEMS IN THE ANGLICAN TRADITION
During the last half of the nineteenth century, when the quartet
anthem was in its prime, another body of anthem literature composed by
both American and foreign-born musicians who were mostly associated
with the Episcopal Church appeared on the scene. This new style of
church music apparently resulted from an increased sensitivity of these
composers toward providing music deemed more appropriate for liturgical
worship, and from the reestablishment of the volunteer choir as the
primary musical ensemble in the worship service.
Although some of the composers of quartet anthems discussed in
the previous chapter were also organist-choirmasters in Anglican churches
and undoubtedly wrote these pieces for their own congregations, they
were not steeped in the British liturgical traditions as were men such
as T. Tertius Noble and H. Alexander Matthews, both of whom were born
and musically trained in England before coming to America. Certainly,
these men who had been reared in the tradition of the English full and
verse anthem were dismayed the first time they heard a modern African
anthem sung by virtuoso soloists and accompanied by highly chromatic
harmonies, for rather than follow this current vogue, they produced
anthems that clearly avoided the characteristics of the quartet style.
In their new anthems, the lengthy solos that often made up the majority
of the quartet pieces were either shortened considerably or omitted.
32
33
Similarly, dignified, reserved harmonies, in which chromatic alteration
is limited, predominated. Careful attention to the proper setting of
the text resulted in a formal style that frequently utilized text paint-
ing and was often abbreviated in comparison with most quartet pieces.
A shift in the design of these pieces further indicates that
they were intended for a different performing ensemble. In the quartet
anthem, technically difficult passages frequently fell to professional
soloists, with choral passages and organ parts somewhat simplified. In
this new body of anthems, however, vocal parts are noticeably simplified,
suggesting that they were intended for the non-professional musicians
of volunteer choirs, while the more difficult passages were given to the
person who could best perform them, the organist.
Horatio Parker
Had a survey been taken among American church musicians around
the turn of the twentieth century, undoubtedly Horatio W. Parker (1863-
1919) would have been considered the most outstanding American composer
of church music. His anthems, which were "couched in the English style,"'''
undoubtedly equalled the finest music being produced in England at that
time.
As a child, Parker disliked the study of music and avoided the
subject until around the age of fourteen, when he began to study piano
1. Edward Shippen Barnes, "American Composers of Church and Choral Mu-

sic Since 1876," Music Teachers' National Association Proceedings
y
(1928), 105.
34
2
and organ with his mother. From 1880 to 1882, he was employed as
organist by a small Episcopal church in Dedham, Massachusetts, and
shortly after, according to George Chadwick, he began to compose an—

3
thems and services for the choir. His musical style was largely shaped
by his study with Chadwick in America and with Joseph Rheinberger in
Germany, where he lived from 1882 to 1885.^
Returning to New York in 1885, Parker served churches as or-
ganist-choirmaster, including St. Luke's in Brooklyn, from 1885 to 1887,
St. Andrew s in Harlem, from 1887 to 1888, and the Church of the Holy
Trinity in Manhattan, from 1888 to 1893. During these seven years, he
also taught music at the New York cathedral schools of St. Paul and
St. Mary, from 1886 to 1890, the General Theological Seminary in 1892,
and the National Conservatory of Music from 1892 to 1893. He left
New York in 1893 and moved to Boston to accept the organist's post
at the Trinity Church. The following year, he received an honorary
master s degree from Yale University and took a teaching position there,
which he retained until his death. In 1904, ten years after coming to
2. The following biographical information is drawn from George W.

Chadwick, Horatio Parker: J.863—1920 (New Haven: Yale University
Press, 1921); Isabel Parker Semler, Horatio Parker: A Memoir for
His Grandchildren Compiled from Letters and Papers (New York:
G. P. Putnam's Sons, 1942); Robert Stevenson, "Parker, Horatio
(William), The New Grove dictionary of Music and Musicians> ed. by
Stanley Sadie (London: Macmillan, 1980), XIV, 231-234; and Nathan
Broder, "Parker, Horatio William," Die Musik in Geschichte und
Gegerwart (Kassel: Barenreiter, 1962), X, 806-807.
3. Chadwick, 7.
4. Ibid., 9.
35
Yale, he was named dean of the School of Music.5 Two years prior to
his being named dean, Parker had returned to New York from Boston to
become organist at the Dutch Reformed collegiate church of St. Nicholas,
where he remained until 1910.
Although his responsibilities as a church musician and educa-
tor were extensive, Parker managed to compose steadily throughout his
career. Of his larger works, one that brought him considerable cele-
brity was the oratorio Hora Novissima. The work, which is based on a
twelfth-century poem by the monk Bernard of Cluny, was written in
1892 for the Choral Church Society of New York. The oratorio achieved
considerable popularity in America and England, a fact that no doubt
drew attention to his smaller works as well, chief among them the
anthem.
In this latter group, the most interesting feature is that of
formal construction. Parker's skill as a symphonic composer is evident
in Rejoice in the Lovd, which is constructed in a tripartite design,
with the outer sections in the tonic key of D major and the middle
section in the key of the flat-six scale degree, B-flat major. The
outer sections are further divided into three parts, but with different
key schemes. The first section includes the tonic, mediant, and tonic
5. This date of 1904, given by Stevenson, does not agree with Chadwick,
who dates Parker's appointment as 1894. Stevenson, 231, and Chad-
wick, 13.
6. Bibliographies of Parker's compositions, including a listing of

anthems,is found in Semler, 318-330; and Stevenson, 232-234. A
partial bibliography is also found in Broder, 807.
7. Oliver Ditson, 1898, no. 11,062.

36
keys, but the last section is harmonized entirely in the tonic, creating
an overall form that loosely resembles that of the sonata-rondo.
A
B A
a b a
a b a
I - iii " I bVI I - I - I
Parker harmonizes the predominantly homophonic choral settings
with a variety of diatonic and altered chords, which are often sup-
ported by a pedal bass line. The altered chords create an harmonic
tension that drives, rather than merely ornaments the anthems. For
O
example, in The Lord Is My Light, a German sixth is used as a pre-
dominant chord to create the musical tension that propels the piece
back into the tonic (Example 18). Modulations are generally restricted
to keys a third away from the given key, a trait in common with Dudley
Buck; however, Parker does not use this technique as frequently as
does Buck. When establishing a new key, Parker does so by means of
well-designed sequence patterns, rather than the abrupt shifts which
are found in so many anthems of this period. An example is Rejoice in
the Lord, in which a cadence on B-flat is confirmed by means of a mu-
sical sequence over a B-flat pedal (Example 19).
Parker's melodies are tuneful because they tend to outline
triads and repeat frequently. For example, the opening phrase of
The Lord Is My Light is heard ten different times throughout the
181-measure anthem. Many pieces include sections for soloists,
8. G. Schirmer, 1890, no. 3552.

37
Example 18.. Horatio Parker, The Lord Is My Light (G. Schirmer,

no. 3552), measures 35-40,
-*L
it m
Y*Jll put my jjriut in Him.Tfie Lord i* my light my Ikjhfc and. my saJ-va-lion,
\efc will X trust in Him.The lord \3 my lioKt, my licjivt andraysal-VA-tion

v i i*~ f r , r. - . | i i f, i /T- >«• m
Example 19,. Horatio Parker, Rejoice in the Lord (Oliver Ditson,

no. 11,062), measures 44-48.
-pip a tcrmp o
Christ,tlirouak
u
J c — C h r i s t , throuqli Je--su3?
v -cit.
men
Christ, A - - - men men

cl tempo
W-J-4J
3Z' sofi
38
and all are accompanied by the organ. Texts are commonly drawn either
from scripture or hymns, with some poetic settings included.
It is evident from these few examples that Parker brought an
element of professional compositional skill to the anthem which was
desperately needed. By doing so, he opened the way for those com-
posers who were reared in the Anglican tradition to introduce their
new anthems to receptive American congregations.
T. Tertius Noble
T. Tertius Noble (1867-1953) devoted sixty-two of his eighty-
five years to the profession of church music. Born and educated in
England, Noble held several positions as organist there before coming
to the United States in 1912, when he became organist-choirmaster at
the St. Thomas Episcopal Church in New York, a position he held until
9
1947.
St. Thomas1 had been recently rebuilt with the idea of estab-
lishing more firmly the Anglican traditions and liturgy. As a result,
Noble was brought from England to provide the appropriate music. Ac-
cordingly, he supervised the installation of a new organ, introduced
9. Biographical information drawn from "Obituary Notices," The American

Organist XXXVI (April, 1953), 139; "Obituaries," Musical America
LXXIII (May, 1953), 19; "Dr. T. Tertius Noble Dies at the Age of 86,"
The Diapason XLIV (June 1, 1953), 1; J. A. Fuller-Maitland and H. C.
Colles, "Noble, (Thomas) Tertius," The New Grove Dictionary of Music
ccnd Musicians, ed. by Stanley Sadie (London: Macmillan, 1980), XIII,
257; and Winifried R. Williamson, "Noble, Thomas Tertius," Die Musik
in Geschichte imd Gegemoart (Kassel: Barenreiter, 1961), IX, 1542-
1543.
39
the cathedral evensong, revised the style of Psalm chanting to conform
more closely to that of the Church of England, and in 1919, established
the St. Thomas choir school for boys, an organization that attracted
considerable attention throughout the United States. In 1943, he
resigned his post at St. Thomas' and was made organist emeritus.^
Although they were composed in England, two of Noble's most fa-
mous anthems, Fierce Was the Wild Billou)11 and Souls of the Righteous,12
13
were published in America. Performance instructions for both pieces
allow for the use of quartet, even though the earmarks of the Anglican
anthem are clearly evident. The instruction "For Quartet or Chorus of
Mixed Voices," appears on the cover of Fierce Was the Wild Billou), and
while Souls of the Righteous was designed "For Full Chorus of Mixed
Voices," some of its choral sections are to be sung by "chorus" and
others by "quartet." Neither piece includes the passages for solo
voice so typical of the quartet style, but instead both feature the
chorus, which sings a cappella throughout. Homophonic writing pre-
dominates in both anthems, yet the pieces are quite different sty-
listically . In Fierce Was the Wild Billou), choral sections feature
10. An obituary in The American Organist notes that his retirement

pension from St. Thomas was "more attractive" than his actual
salary and implies that Noble might have been coerced into re-
tirement by church officials. "Obituary Notices," The American
Organist XXXVI (April, 1953), 139.
11. G. Schirmer, 1909, no. 5283.
12. G. Schirmer, n.d., no. 4837.
13. A partial bibliography of Noble's compositions is located in

Williamson, 1542-1543.
40
syllabic writing in which recurring triplet patterns are used to
highlight the short, rhymed phrases of text. Although the setting
almost defies musical treatment, Noble skillfully weaves the short
lines into a tripartite construction and emphasizes dramatic portions
of text with sudden shifts in dynamic levels and harmonic mode. For
example, when the theme of the text changes from a narrative account
of Christ's walk on the water to a personal prayer of petition, the
harmonic mode correspondingly shifts from minor to major (Example 20).
The choral writing found in Souls of the Righteous is somewhat dif-
ferent, for the text, which is translated from the Book of Wisdom, is
much longer than that of the previous example and is correspondingly
set to longer, more serene musical phrases. Homophonic writing still
Example 20. T. Tertius Noble, Fierce Was the Wild Billow (G. Schirmer
no. 5283), measures 31-39. '
When with the Licjht of L^ht, "ieace! It - i$ I!
When with the Light of Light, "fea.ce! It \s 11
[en Siith the Light; of Liqht, Peace! It is I!"

s
fi: ft ¥ - • TT — — 2. -
Whensaith the Light of Light, "fea.ce! It is I!

41
Je — su, de - liv - er -er, Come Thou to
Je - su,__Ae- liy_ - êr^-er, Come Thou to me,_
iv — er - er, Come Thou to me,
Je su, de — Iiv_j_er-en Come Thou to me
prevails, but in this piece, the inner voices display melodic interest
as well. Like Fierce Was the Wild Billcw, this anthem is characterized
by dynamic contrasts that, when produced by the unaccompanied voices,
create a most dramatic effect (Example 21).

14
Go to Dark Gethsemane, which was composed by Noble after he
moved to America, is a dramatic call to personal redemption. Inter-
estingly, the piece was dedicated to another English church musician
who also journeyed to America, H. Alexander Matthews, and to Matthew's
choir in Philadelphia. The text is drawn from a hymn by the nine-
teenth-century English hymnist James Montgomery. Set in the key of
e-flat minor, the piece fluctuates ethereally from minor to parallel
major, increasing musical and dramatic tension with each phrase. An
14. H. W. Gray, 1918, no. 501.

42
Example 21. T. Tertius Noble, Souls of the Righteous (G. Schirmer,

no. 4837), measures 47-52.
a gold-en flal-ax-y, oouiyor

Soulr of the riqk-
rig ecus in kand ot_ God.
JL ft ~~
a. qoldeiiqal-dX- Souls of theriglrt-eQusintU hand o f _ God.
a qoiA^n
qo! gil-ax y,^-r-p., 5oJsof tWjjqk-eous intlielund of GoA-
a gold-en gal-ax- y, Soulj of therieît-eous in the kind. of God-
impressive climax begins in the third section of the modified strophic
anthem with an ostinato pattern in the bass line that repeats for
twelve measures (Example 22). In measure forty-five, the ostinato
pattern of the bass is given to the upper voices and the bass assumes
a new melody. This new double ostinato is repeated once, then abandoned
as the entire ensemble exclaims, "It is finished! Hear Him cry" (Ex-
ample 23),
Although Noble's anthems appeared in print alongside those
intended for quartet choirs and were marked to accomodate that en-
semble, they were clearly intended for the chorus in the English style.
Besides merely augmenting the existing repertory of American anthems,
Noble gave new importance to the full choir by not only featuring them
43
Example 22. T. Tertius Noble, Go to Dark Gethsemane (H. W. Gray-

no. 501), measures 33-36. '
Very JU* tamed, gradually increasing in force and intensitytoa great climax.
TKeBasspart«omewha£ an^xasixeA
Cal — varys mourn — fuJ moun — tain climt>;
Cal - vary'j mourn"—ful moun — tain climBT
— vary'j mourn — ful moun — tain climb)
- vary's mourn — ful moun - tain climb;

m
Example 23. T. Tertius Noble, Go to Dark Gethsemane (H. W. Gray

no. 501), measures 45-50. '
Godi own Jac - ri - fice com-plete;
God s own sac - rl - fice

i com
s own sax. ice com
God's own .sac - li - fice com-plete; _ "It is fin-isheJ!

44
sff # sff Z ™n3a
fin - ished!" liear (iii
fin - ifked!
S# ^ Luncja.
m his compositions, but by also incorporating into the choral score
the dramatic element that had largely been reserved for the quartet
soloists.
Jj Sebastian Matthews and H. Alexander Matthews
The brothers John Sebastian Matthews (1870-1934) and Harry
Alexander Matthews (1879-1973) distinguished themselves as leaders
among those who wrote anthems in the English style, although neither
produced anthems that equalled those of Parker or Noble. Born in
Cheltenham, England, they were first trained in music by their father,
John Alexander, who was a musical conductor. J. Sebastian, the older
brother, came to Philadelphia in 1891, where he accepted the position

45
of organist at St. Martin-in-the-Fields.15 After leaving that city,
he held similar positions at St. Mary's in Burlington, New Jersey,
and at St, Stephen's in Boston. In 1901, he became organist at St.
Peter's in Morris town, New Jersey, and in 1916, he moved to a simi-
lar position at Grace Church in Providence, Rhode Island.
Following in his brother's footsteps, H. Alexander came to
Philadelphia in 1899, where he held the position of organist at the
Second Presbyterian Church and then at St. Luke's and the Epiphany.16
He was a member of the music faculty of the University of Pennsylvania,
receiving an honorary doctorate from that institution in 1925. Addi-
tionally, he was chairman of the theory department of the Philadelphia
Musical Academy and conductor of several music clubs before retiring
to Madison, Connecticut, in 1954. Both brothers published several
successful cantatas and anthems, plus a variety of literature for the

17
organ.
15. The following biographical material is drawn from Waldo Seldon

Pratt and Charles N. Boyd, "Matthews, John Sebastian," Grove's
Dictionary of Music'and Musicians: American Supplement (New York:
Macmillan, 1937), VI, 288; and Waldo Seldon Pratt, "Matthews, John
Sebastian," The New Encyclopedia of Music and Musicians (New York:
Macmillan, 1937), 573.

Pratt and Charles N. Boyd, "Matthews, Harry Alexander," Grove's
Macmillan, 1937), VI, 288; "Dr. H. Alex. Matthews Active in America
for Half a Century," The Diapason XLI (April 1, 1950), 22; "Dr. H.
A. Matthews Retires: 54 Years in Philadelphia," The Diapason XLV
(June 1, 1954), 1; and "Dr. H. Alexander Matthews," Tne Diapason
LXIV (June, 1973), 11.
17. Partial bibliographies of their compositions are included in Pratt

and Boyd, 288.
46
Of the two, H. Alexander's anthems were probably heard more
often in American churches, and while they are riddled with Victorian
musical cliches, they also reflect characteristics of the English an-
them. From his cantata The Life Everlasting, H. Alexander published

18
the anthem This Is the Promise in 1907, which serves as a good illus-
tration of his musical style. Although the piece begins with a somewhat
bombastic organ introduction of twenty-four measures that resembles the
organ accompaniments of Dudley Buck, contained within the introduction
is a rather skillful melodic sequence that points to the merits of the
composer (Example 24) . Throughout the anthem, stable choral sections
Example 2'4. H. Alexander Matthews, This Is the Promise (G. Schirmer,

a tempo
"* J
f " t l T ' I"
are juxtaposed with bombastic organ interludes; however a recurring
rhythmic pattern j j i j helps to unify the piece.
H. Alexanderfs concern for musical cohesion is further displayed

,19
in a Christmas anthem entitled Voices of the Sky which, like the
earlier work, was excerpted from one of his cantatas, The Story of
Christmas. Here, the recurring use of the retardation creates an
18. G. Schirmer, 1907, no. 8673.
19. G. Schirmer, 1913, no. 9513.

47
atmosphere of sentimental sweetness that probably delighted its lis-
teners (Example 25), As in the previous example, the tasteful use of
Example 25, H. Alexander Matthews, Voices of the Sky (G. Schirmer,

no. 9513), measures 1-2. '
Andante con espressione
repetition and sequence point to this composer's knowledge of his
craft. Unfortunately, however, simple, direct choral settings are
victimized by bombastic, at times even pianistic organ accompaniments
(Example 26),
Example 26, H. Alexander Matthews, Voices of the Sky (G. Schirmer,

no. 9513), measures 24-25. '
48
Seth Bingham
A student of Horatio Parker who was known for composing "prac-
tical anthem literature that was suitable for average or accomplished
church choirs was Seth Bingham (1882-1972).20 In 1906, two years after
21
graduating from Yale University, Bingham traveled to Paris for further
20. The following biographical information is drawn from John Tasker

Howard, "Seth Bingham," Our Contemporary Composers: American Music
in the Twentieth Century (New York: Thomas Y. Crowell, 1943), 90-
91; "Honor Seth Bingham, Who Retires After 38 Years at Church'," The
Diapason XLII (July 1, 1951), 20; "Seth Bingham Recovers from In-
jury, Finishes New Work," The Diapason XLIV (September 1, 1953), 16;
and "Seth Bingham," The Diapason LXIII (August 1, 1972), 6; and*H.
Wiley Hitchcock, "Bingham, Seth," The New Grove Dictionary of Music
and Musicians, ed. by Stanley Sadie (London: Macmillan, 1980), II,
724. '
21. Although an article in The Diapason dated July 1, 1951, states that
Bingham received his bachelor's degree from Yale in 1901, H. Wiley
Hitchcock, who is to be considered a most reliable source, disagrees,
stating that the degree from Yale was not received until 1904.
"Honor Seth Bingham," The Diapason, 20; and Hitchcock, 724.
49
musical training. After a year in Paris, he returned to the United
States in 1908 and joined the faculty of Yale, where he remained until
1919, when he was appointed chairman of the Music Theory Department at
Columbia University. During these and the following years, he served
several churches as organist—choirmaster, the most notable of which
was the Madison Avenue Presbyterian Church, where in 1951 he retired
after thirty-five years of service.22 In 1952, he received an honorary
doctorate from Ohio Wesleyan University, and the following year he was
appointed to the faculty of the School of Sacred Music at Union Theo-
logical Seminary. He retired from his position at Columbia in 1954,
tut continued to lecture at Union Theological Seminary until 1965.
Bingham wrote for the entire Protestant church, that is, he

9
had no particular denomination in mind. His anthems include settings
of canticles, hymns, scripture, and sacred poetry.2^ His earliest works
are somewhat difficult technically, but, as time goes on, they become
shorter in length and simpler in construction.
In 1941, Bingham published a choral setting of The Lord's
Prayer that was, no doubt, welcome to many church musicians who were
unwilling to present the popular, gaudy settings of this text to their
congregations. The overall form and mood of the piece are prescribed by
22. The sources consulted disagree as to Bingham's tenure at the Madison

Avenue Presbyterian Church. Again, Hitchcock is believed to be the
most reliable source, Hitchcock, 724.
23. Walter Blodgett, "Critic Evaluates Bingham's Gifts as a Choral Com-

poser," The Diapason XLII (March 1, 1954), 22.
24. A partial bibliography of Bingham's compositions is included in Ibid.,

and in Hitchcock, 724.
25. Carl Fischer, 1941, CM607.

50
the text. Irregularly barred conjunct vocal lines are chanted by the
choir in hushed chords, set in minor mode (Example 27). A mood of awe
Example 27. Seth Bingham, The Lord's Prayer (Carl Fischer, CM607)
measures 1-7. '
Slow ( J = t>4-
Our fa-t/ier who a r t
Our Fa-thei; w h o a r t in
Our fi-ther, who art ir
Pe<U*oft 16}
Heaven, Ka-i— l o w - e d te Thy Name. Thy King-dom
Heaven, hal- low ed be ^hy Name. Iky Kingdom
Heaven, hai- low e d be Thy Name. Thy King d o m

51
and reverence is further created by the organ accompaniment, which
moves independently of the voices through highly unusual harmonic
progressions that include the Neapolitan sixth, flat-six, and minor
dominant.
Four years after the Lord's Prayer was issued, Bingham brought
26
out a piece entitled 0 Come and Mourn in which chromaticism predomi-
nates. As in the Lord's Prayer, the text dictates both the harmonic
motion and mood. Chromatic scale passages effectively create a feeling
of hopelessness over the death of the Savior, and while the final words
proclaim "Our Lord is crucified," the descending lines settle slowly
to a final unison pitch (Example 28).
Example 28. Seth Bingham, 0 Come and Mourn (Galaxy, no. 1498), mea-
sures 101-108.
ei. allactj- ul fine
Jim, ed aHo-ca. o3
Our Lord is
dinrgd,, qUarq ql fine
Our Lord is era

tlim -ed allarn. nl W
Our Lord
26. Galaxy, 1945, no. 1498.

52
In addition to the use of the scriptures, the use of non-
scriptural texts of high quality tastefully complements these more
sophisticated, subtle musical settings. As a rule, Bingham gave
careful attention to the rhythm of the text, so that it is easily
understood. The reserved, sophisticated style of these anthems may
have limited their exposure in American churches, for there is no
doubt that they were most appreciated by those congregations that
valued musical artistry and skill. Unlike many of the composers
already discussed, Bingham avoided the cliches of the day, and many
modern church musicians would profit from an examination of the works
of this somewhat overlooked composer.

53
H. Everett Titcomb
No American composer of church music enjoyed greater respect
from his colleagues than did the Bostonian organist H. Everett Titcomb
(1884-1969). A devout Episcopalian, Titcomb served the church of St.
John the Evangelist, Boston, as organist-choirmaster for fifty years
from 1910-1960. During this time, both the Boston University College
of Music and the New England Conservatory of Music called upon him to
instruct students in applied organ, liturgical music, and choral train-

27
mg.
Titcomb was largely a self-taught musician, a fact that inti-
midated him considerably. In 1946, for example, officials at Boston
University asked Titcomb to assume the responsibilities of the chairman
of the Organ Department, who had become ill and was forced to take a
leave of absence. The composer was reluctant to serve as a substitute
because he believed himself to be ignorant of sufficient organ litera-
ture to fill the position adequately." While he may have lacked a
knowledge of organ literature, he certainly compensated for that de-
ficiency with his knowledge of the Episcopal liturgy, for he was
27. The following biographical information is drawn from Bernard E.

Smith, Everett Titcomb: Man and Musician" (unpublished master's
thesis, Union Theological Seminary, 1953), 1-8; "Everett Titcomb
Honored on Fortieth Anniversary," The Diapason XLII (January 1,
1951), 12; "Everett Titcomb," The American Organist XXXV (August,
in " 2 7 2 ' " E v e r e t t Titcomb," The Diapason XLIII (August 1, 1952),
10; Everett Titcomb Awarded Doctorate by Seminary," The Diapason
XLV (September 1, 1954), 4; "Everett Titcomb Honored at NYC Chapter
Service, The Diapason LII (April 1, 1961), 12; and Ray Berrv, "In
Our Opinion," Trie Ameriean Organist XLIV (May, 1961), 26-27.'
28. Smith, 5.
54
considered an authority of the latter.29 He spent several summers
in Europe learning the various methods of plainsong performance, then
amid significant opposition from some church members, he gradually
introduced it into the liturgy at St. John!s. Titcomb realized that
a number of church musicians in and around Boston were interested in
learning more about the performance of chant, so he invited them to
sing the Benediction Service every Sunday evening. Forming these
music directors into a choir, which he named the "Schola Cantorum,"
Titcomb gave them the opportunity to experience first-hand the singing
of the chant, and at the same time, created a first-rate ensemble to
enhance his own choral program at the church.
Titcombfs anthems were published primarily by two American
publishing houses, Carl Fischer and B. F. Wood. 30 Sections for unison
voices supported by heavy, pompous organ accompaniments are found in
most of the accompanied pieces, making them especially well-suited for
the untrained choir. Diatonic harmonies predominate and there is little
use of chromaticism. Modulations to relative keys are most common at
clearly marked section changes.
In 1934, Titcomb published a set of anthems entitled Eight
Short Motets, which call for more than average technical skill from
the singers. Scored for unaccompanied choir, the anthems are written
to be sung during the communion of the greater festivals of the church.
29. "Everett Titcomb Awarded Doctorate," The Diapason, 4.
30. A bibliography of Titcomb's published anthems up to 1953 is in-

cluded in Smith, 31.
55
Of the eight selections, I Wilt Not Leave You Comfortless^ is a
typical example. The piece is constructed in a simple tripartite
form, and each section is unified with a recurring rhythmic pattern.
The voices are set polyphonically, with some imitation and text
Pointing, and the overall mood is reserved and unobtrusive.
One of Titcomb's best-known accompanied anthems is 0 Love

32
How Deep, the text of which is translated from a fifteenth-century
Latin hymn, suggesting the influence of the Oxford Movement, an effort
made to incorporate High Church principles into the Anglican Church
during the nineteenth century. Examples of sweeping unison phrases
supported by rich, rhythmically constant organ accompaniments are
found throughout the anthem (Example 29). Occasional a cappella
Example 29. H. Everett Titcomb, 0 Love How Deep (H. W. Gray, CMR
2226), measures 1-6. '
/ 9li. (M, J -c.lop) f
0 love, how deep, how brood how hiqVi,
0 love, how deep, how hroacljôw high,
0 Jove, how deep, how broad, how hi'qVi

_• ' _ --i—£T_V '
Connioto(M.<l=c.l00) Q 'M>w ^ P . Ua.d.l>ow W i ,
31. Carl Fischer, 1934, CM 441.
32. H. W. Gray, 1952, CMR 2226.

56
sections occur, but according to Bernard Smith, these are the excep-
33
tion in Titcomb's accompanied works. Conjunct, flowing, vocal lines,
which are set in regular two- or four-measure phrases, suggest that
the choral sections might have been written for the organ first, then
^nscribed for the singers# Phrases often begin on either an upbeat
or a weak beat, a technique that may have better facilitated the or-
ganist who conducted the choir while playing.
The popularity of Titcomb's anthems resulted from their simple
dignity. By means of full organ sonorities, Titcomb was able to please
even the most sophisticated Episcopal congregation. On the other hand,
by writing a good deal of unison choral sections, he not only caught
the eye of the director whose choral forces were lacking, but also
the director of the accomplished choir who desired suitable literature
that could be learned and performed on short notice.
Joseph W. Clokey
A product of the American educational system, Joseph W. Clokey
(1890-1960) received his musical training at Miami University, in
Oxford, Ohio, and at the Cincinnati Conservatory of Music.^ Clokey's
33. Smith, 27.
34. The following biographical information is drawn from "Joseph W.

Clokey, Composer, On Tour of Midwest," The Diapason XLVI (Decem-
ber 1, 1954), 1; "Joseph W. Clokey," The American Organist XLIII
(October, 1960), 28, 43; "Heart Attacks Fell Two Church Music
Leaders," The Diapason LI (November 1, 1960), 1; William G. Blan-
chard, "Remembering Joseph Clokey," The Diapason LI (November 1,
1960), 4; and Nicolas Slonimsky, "Clokey, Joseph Waddell," Baker's
Biographical Dictionary of Musicians, sixth ed. (New York: Schir-
mer Books, 1978), 331.
57
career included tenures at Miami University, from 1915 to 1926, and
Pamona College, from 1926 to 1939. He was awarded an honorary doc-
torate by Miami University in 1937, where two years later, he was
named dean of the School of Fine Arts, a position he retained until

oc
1947. After retirement from Miami University in 1947, he was awarded
honorary doctorates by Ohio Wesleyan University in 1951 and LaVerne
College in 1956. Prior to his death, he gave periodic guest lectures
at Claremont College, the University of Southern California, and the
University of California at Los Angeles.
Throughout his career, Clokey's church music was among the most
popular and therefore most widely performed of his day. Harold Thompson
notes a tendency toward a more conservative, reserved emotion in Clokey's
anthems dating after 1930 and partially credits this change to a shift
in the composer's theology, which resulted in Clokey's separation from
the Presbyterian church and subsequent affiliation with the Episcopal

36
church. Many of his anthems were written for the Anglican ser-
vice and reflect ClokeyTs extraordinary command of the organ as an ac-
companying instrument. A characteristic of many of his later pieces
is a simplified choral format that relies on a full organ accompaniment
for stability. Like Everett Titcomb, Clokey was able to create a dig-
nified choral composition utilizing only modest choral forces, a tech-
nique that attracted many small- to medium-sized church choirs.
35. Although an article in The American Organist dated October, 1966,

states that Clokey remained at Miami University until 1960, most
sources agree on the date 1947. "Joseph Clokey," The American
Organist XLIII, 43.
36. Harold W. Thompson, "Joseph W. Clokeyfs Compositions Form Subject

for Study," The Diapason XL (May 1, 1949), 10.
58
The evolution of Clokey's musical style is readily seen in

37
his anthems. In 1936, he published a piece, based on a text from
oo
a sixteenth-century manuscript, entitled Two Kings. The piece is
scored for four to eight voice parts, which are accompanied by trumpet
39
and trombone fanfares. Frequent shifts in tonal centers coupled
with a lack of support from the accompaniment makes the piece suitable
only for more advanced choirs.
An anthem that reflects Clokey's more reserved emotion is

40
Treasures ^n Heaven, which was published in 1941. In this anthem,
the text of which is drawn directly from chapters six and seven of St.
Matthew, a modest choral setting is supported by a rich, yet subdued
organ texture. Flowing vocal sections are constructed using a variety
of chord inversions, notably second inversion triads that result from
omitting the root of the chord contained in the pedal point of the organ
accompaniment (Example 30). Homophonic choral parts coupled with a free
alteration between duple and triple meters indicate Clokey's interest
in clear textual articulation. A lack of rhythmic motion, which is
caused by the exclusion of any note values smaller than the quarter
note, makes this piece difficult to perform stylistically, even though
37. A partial listing of Clokey's compositions is included in Slonimsky,

331.
38. J. Fischer and Bro., 1936, no. 7211.
39. The date of this example obviously does not coordinate with the
information from Thompson, 10.
40. Summy-Birchard, 1941, B-2010.

59
Example 30. Joseph W. Clokey, Treasures in Heaven (Summy-Birchard

B-zulO), measures 3-13.
Lfy J * 4 { £ y L - i d v ^ t n c a - y ip ^ wdfre motL r a£|

> H g ? i i i ir i i M' t i .1
c
¥ r °r ru
i*- W t « a i r r t i X d . l a JIEI,
its hymn-like characteristics place it within the capacity of choirs
with average ability.
Four years after publishing Treasures in Heaven, Clokey pro-
duced an anthem for unison voices with piano accompaniment entitled
CanUole of Peace}1 Based on the second chapter of Isaiah, the text
is harmonized by means of a tonal center on "g" and unified by four
short motives. At first glance, this anthem appears to be quite unlike
41. Summy-Birchard, 1945, B-340.

60
Clokey's other pieces; however, there are similarities. The first
motive, located initially in the accompaniment and later in both the
accompaniment and vocal melody, is reminiscent of the brass fanfares
in Tuo Kings (Example 31). The second motive is located only in the
Example 31. Joseph W. Clokey, Two Kings (J. Fischer and Bro., no.
7 11), measures 1-2. Joseph W. Clokey, Canticle of Peace
(Summy-Birchard, B-340), measures 1-2.
Pompously J about 100

-t=H H 1%
Wi'tl) slow insistent rhythm J about si

61
vocal line (Example 32), while the third motive is found only in the
accompaniment (Example 33). The final motive is stated first in the
Example 32. Joseph W. Clokey, Canticle of Peace (Summy-Birchard,

B-340), measures 8-9.
i'S nring
in the lat - ter_ day
Example 33. Joseph W. Clokey, Canticle of Peace (Summy-Birchard

B-340), measures 26-27. '
tender
vocal line, then later migrates to the accompaniment (Example 34).
Example 34. Joseph W. Clokey, Canticle of Peace (Summy-Birchard

B-340), measures 78 and 90.
I TTT
Come
62
A unison melody is set in recitative style throughout and is accom-
panied by tonal harmonies containing an abundance of added notes and
by n o n - f u n c t i o n a l bi-tonal chords. Harmonic progressions that move
in parallel motion recall the same feature in Treasures in Heaven.
Like many of his contemporaries, Clokey discovered a method
of anthem composition in which musical integrity could be preserved
in spite of only modest choral facilities. The difficulties of the
choral sections of his pieces written after Treasures in Heaven prob-
ably lie midway between the anthems of Bingham and Titcomb; however,
the difficulties of accompaniments in pieces such as Cantiale of Peace
tend to surpass those of his contemporaries.
Philip James
The development of the American anthem would have changed
considerably if the composer Philip James (1890-1975) had chosen to
invest more of his compositional talent in this medium. He was one
of the best-trained musicians to deal significantly with the anthem;
however, his production was greatly reduced by his other pursuits.
Receiving his musical education in New York, London, and Paris,
James began a career as a church organist around 1905, playing in

42
various churches in and around New York City. While pursuing a
42. The following biographical material is drawn from "Philip James

Retires from N. Y. University," The Diapason XLVI (September 1,
1955), 1; and from John Tasker Howard, "Philip James," Our
Contemporary Composers: American Music in the Twentzeth Century
(New York: Thomas Y. Crowe11, 1943), 171-174; Ruth B. Hilton,
" Time<; Philip " The New Grove Dictionary of Music and Mustcrans,
ed. by Stanley Sadie (London: Macmillan, 1980), IX, 472; and
Nathan Broder, "James, Philip," Die Musik in Gescmcnte und Gegen-
wart (Kassel: Barenreiter, 1957), VI, 1678-1679.
63
church music career, he played the violin in a theater orchestra,
and even directed the music of one theater production. Following
the first World War, during which he served as a bandmaster, James
conducted a comic opera company for two seasons, and in 1922, founded
the New Jersey Orchestra, an organization he conducted for the next
seven years. From 1929 to 1936, he conducted the Bamberger Little
Symphony Orchestra, which he founded, performing some five hundred
concerts with this group.43 Throughout his career, James frequently
performed with major American orchestras as a guest conductor. From
1923 to 1955, he taught at New York University, where in 1933, he was
appointed chairman of the Music Department. His numerous works include
both vocal and instrumental genres.
The most noticeable characteristic of James' anthems is their
tendency toward impressionism.44 An example is By the Waters of
Babylon,45 which abounds with non-functional diatonic chords, major
sevenths and ninths, diminished triads and sevenths, chord clusters,
and cross-rhythms (Example 3 5 ) . Coupled with a rather aimless melody,
the unusual chord progressions create an overall ethereal mood for the
text setting, which is drawn from Psalm 137. Both choral and organ
43. The orchestra was under the patronage of Bamberger's Department

Store. Joseph A. Mussulman, Dear People. . .Robert Shau) (Blooming
ton: Indiana University Press, 1979), 45.
44. A partial bibliography of James' compositions is included in Hilton,

472.
45. H. W. Gray, 1921, no. 636.

64
Example 35. Philip James, By the Waters of Babylon (H. W. Gray,

no. 636), measures 29-32. Philip James, By the Waters of
Babylon (H. W. Gray, no. 636), measures 59-65.
a. te-ntpo
molto xit
hs for
motto xrit u-lcmpo
Si - on
melto -rit
harps, vc
a \zmfO
Je-ru -5a — lem! Jc-ru - 5 a - lem \
J e - r u - 5a — lem! Jc-ru.-5a.-Icm!
Je-ru- 5a - lem!
-w
ru sa
65
parts are difficult to perform, thus reserving this work for the better
ensembles found in more sophisticated American churches and colleges.
At the close of the first half of this century, James pub-

46 ~
lished the anthem Close Thine Eyes, and Sleep Secure. Once again,
the text, a poetic setting by King Charles I of England, dictates the
overall mystical mood. Unaccompanied choral parts are written for up
to eight voices and are set in compound meters that shift rather fre-
quently, recalling the typical characteristics of post-Romantic choral
works. Diatonic triads are still utilized in a non-functional fashion,
but the use of altered chords is not as apparent as in the previous
anthem. After the midpoint of the century, James' anthems become more
difficult and, as seen in Blessed Ave Ye That Hunger,47 still retain
elements of a compromised impressionistic style (Example 36).
These anthems reflect the compositional skill of a master com-
poser. It is unfortunate, however, that such a fine talent as James
continued to write in a musical style that had long passed out of
vogue. This aspect of the style probably reduced the size of his
American audiences more than did the actual technical difficulties of

the works.
46. Galaxy, 1949, no. 1768.
47. H. W. Gray, 1956, CMR 2438.

66
Example 36. Philip James, Blessed Are Ye That Hunger (H. W. Gray,
CMR 2438), measures 18-28.
Bless-ed y e wKen men shall W e you, a n d cast:yg^. from tkeir m j d s t
Bless-ed ye « U m e n t a l l a k e you, and_ogjou fromtW
Blessed ye wLen men siiall h a t e y o u , and c a a t tWrnidsfc^
Bless-ed ye when men shall liaie you, Y01* îc'r n ^ s ^
Your r e - war*d is great in heav - en; for in like m a n - n e r
Your re - ward is great in l i e a v - e n ; fc
Your r e - w a r d is great in W v - en; for
Your re-ward is qreat in W v - en, f o r in l i k e r p n e r

67
un — "to tW proph ets their— 1"^ thens
i -J
to
J
the
1
J J-
proph ets their T& — tnerr
to the proph et? their fa - thers
h-efcj their_ fa - then*
T. Frederick H. Candlyn
Born and educated in England, T. Frederick H. Candlyn (1892-
1964) came to the United States in 1915 to assume the organist's posi-
48
tion at St. Paul's Episcopal Church in Albany, New York. In 1919,
he was named chairman of the Music Department at the State University
of New York at Albany, and after twenty-four years there, he succeeded
T. Tertius Noble as organist at the St. Thomas Church, New York City,
where he remained until 1954. Upon his early resignation, which remains
48. The following biographical information is drawn from Dr. T. re

erick H. Candlyn," The American Organist XXXVII (May, 1954), 159;
"Dr. T. Frederick H. Candlyn," The Diapason XLV (July 1, 1954), 17;
and "Obituary," The American Organist XLVIII (February, 1965), 28.
68
unexplained, he served several other churches as organist until his

49
death in 1964.
Like the compositions of a number of his contemporaries,
Candlyn1s anthems contain a considerable amount of writing for unison
voices.50 In one of his best-known works, Christ3 Whose Glory Fills
the Skies^ forty-nine of sixty-seven measures scored for chorus are
written for unison voices. The anthem, which is set to the text of
the eighteenth-century hynmist Charles Wesley, begins with a robust
organ introduction in D major that then accompanies a unison statement
of the first stanza. The second stanza is harmonized in the parallel
minor, an appropriate choice for the text, "Dark and cheerless is the
morn unaccompanied by Thee. . . . " Only in this solemn passage does
Candlyn write for four voice parts, for the final stanza is again
given to unison choir. Further evidence of Candlyn's concern with
proper textual emphasis and articulation is found at the conclusion
of each stanza in which the meter is altered to accomodate proper word
accentuation.
The bulk of the musical sonority is given to the organ accom-
paniment, which although not extremely difficult, provides rhythmic
and harmonic motion and contains passages that unify the anthem. An
49. An article announcing his resignation from St. Thomas implied

that some problem existed. "Dr. T. Frederick H. Candlyn,1 The
American Organist XXXVII (May, 1954), 159.
50. A bibliography of Candlyn's compositions was unavailable.
51. Carl Fischer, 1942, CM 622.

69
example of the latter is found in the first four measures of the
organ introduction, which is based on an inversion of the vocal melody
(Example 37). Subsequent organ interludes that occur between stanzas
Example 37. T. Frederick H. Candlyn, Christ3 Whose Glory Fills the

Skies (Carl Fischer, CM 622), measures 1-13.
TEH005
Girist, Wlwtfcjlo ryfillitlie slues,

mszs
of the hymn also contain fragments of the melody stated in inversion
and in diminution (Example 38). These same characteristics are also

52
observed in anthems such as Alleluia to the Easter Kvng, which were
written after the mid-century.
52. M. Whitmark, 1951, no. 5-W3437.

70
Example 38. T. Frederick H. Candlyn, Christ3 Whose Glory Fills the

Skies (Carl Fischer, CM 622), measures 58-65.
fl A j-j A
Like several of his contemporaries, Candlyn skillfully pro-
duced a series of anthems that were suitable for the average choir
and that also achieved a degree of musical substance. He was able
to utilize unison choral writing to a significant degree, and at the
same time, construct an organ accompaniment that could be performed
by the less-skilled organist. The production of such pieces made his
works a popular choice during the 1940's.
Leo Sowerby
During the third and fourth decades of this century, music
critics predicted a bright future and abundant recognition for the

71
young organist-composer Leo Sowerby (1895-1968).53 Although he en-
joyed a brilliant career, it is doubtful that he gained the national
recognition that would have been possible had his anthems not featured
an excessive use of dissonance and a preference for virtuoso organ
accompaniments. In that he was largely self-taught, his use of such
advanced techniques was most unusual.
Prior to the first World War, during which he toured France as
a bandmaster, Sowerby held several posts as organist in and around
Chicago. Returning there after his military service, he accepted a
position as principal organist for a congregational church and the
position of assistant organist at the Fourth Presbyterian Church. In
1921, he became the first recipient of the American Prix de Rome, which
enabled him to spend the following three years in Italy. In 1925 he
was hired to teach at the American Conservatory, where in 1934, he was
named chairman of the Department of Composition and Theory. Two years
53. The following biographical material and musical generalizations are

drawn from Raymond D. Jones, "Leo Sowerby: His Life and His Choral
Music" (unpublished Ph.D. dissertation, University of Iowa, 1973);
R. Wayne Hinds, "Leo Sowerby: A Biography and Descriptive Listing
of Anthems" (unpublished Ed.D. dissertation, George Peabody College
for Teachers, 1972); Ronald Stalford, "Sowerby, Leo," The New Grove
Dictionary of Music and Musicians, ed. by Stanley Sadie (London: ^
Macmillan, 1980), XVII, 780; and Hans Tischler, "Sowerby, Leo,"
Musik in Geschichte und Gegemoart (Kassel: Barenreiter, 1965), XII,
946-947.
54. Raymond Jones recounts a story that illustrates Sowerby s early

musical training. Unable to afford the twenty-five cent fee to
practice on an organ at a church in Chicago, Sowerby devised his
own pedal board by drawing it on butcher paper and placing it on
the floor beneath a piano. Jones, 6.
72
after he began teaching at the American Conservatory, he was named
organist at the St. James Episcopal Church in Chicago. He held both
of these positions until his retirement in 1962.
With the post at St. James', he began a life-long association
with the Episcopal church. During the summer of 1927, Sowerby traveled
to England to familiarize himself with the Anglican liturgy, and upon
his return, he set about composing choral services for the church. In
the late 1930's, Sowerby assisted in the revision of the 1940 Episcopal
hymnal, and then in the summer of 1944, he joined the faculty of the
Evergreen Conference on Church Music, which was an organization designed
to augment the training of Episcopal church musicians.
Sowerby produced several anthems during the early 1920's, when
American churches were experiencing a period of musical stagnation that
followed the dying Victorian influence on the genre. He was not an in-
novator, yet was considered a rebel among the composers of American church
music. While Sowerby's compositions are rooted in the ideals of nine-
teenth-century Romanticism and remain within a tonal framework, they
are excessively dissonant, a characteristic for which he received con-
siderable criticism throughout his c a r e e r . E x a m p l e s of altered chords
including ninths and elevenths are found frequently, along with harmonic
progressions that are non-tertian (Example 39). Both enharmonic and
chromatic modulations are common.
55. A partial bibliography of Sowerby's compositions is listed in Tisch-

ler, 947, and a descriptive listing of anthems is included in Jones,
380-412.
73
Example 39. Leo Sowerby, Come Ye and Let Us Go Up (H. W. Gray,

no. 2242), measures 28-33.
Burly h s l , but with dignity =
wntaino Ui^j
fairly f&st, tat with dignity (Jsm-us)
Sowerby's anthems are quite formidable in length and include
melodies that range from rhythmically active, short tunes (Example 40)
Example 40. Leo Sowerby, My Heart Is Fixed, 0 God (H. W. Gray, no.
2414), measures 4-11, melody only.
My heart is fixed, my heart 'is fixed, 0 God
to long, winding musical lines that cease to pique one's interest
after the first few measures (Example 41). Like the melodies of
Example 41. Leo Sowerby, I WilZ Lift Up MIYIG Eyes (Boston Music,
no. 6350), measures 3-5, melody only.
I Mill lift up mine eye* un to the hills, iromwlwice Cometh my help

74
Titcomb, they often enter on either an upbeat or following a weak
beat, more easily facilitating conducting by the organist.
Examples of homophonic writing are found in many choral sec-
tions, and a thick choral texture is common. Characteristic choral
writing includes voices in unison, voices in unison octaves, or two
voices written in counterpoint and doubled at the octave.
Anthems are often accompanied with heavy organ parts calling
for three staves. The flowing rhythmic motion of the accompaniment
may either double the vocal score or move independently of the voices.
In his scores, Sowerby consistently indicated interpretive suggestions
and directions in English, and omitted all metronomic indications.
Although Sowerby wrote almost exclusively for the church, the
extreme difficulty of his anthems made them unsuitable for the average
church choir, and has therefore limited their popularity in American
churches. All-Sowerby programs were common among the American Guild of
Organists and the various choral directors' associations during the
1930fs and 1940Ts; however, the greatest influence of this composer has
been somewhat contained within the Episcopal church.

Chapter III
PROMINENT CHORAL ENSEMBLES AND THE DISSEMINATION OF THE ANTHEM
During the first half of this century, the efforts of a number
of amateur and professional choirs singing in this country evoked in
the American public an unprecedented awareness of and appreciation
for the performance of choral music. The celebrity of the earliest
of these ensembles derived largely from their exclusive performance
of a cappella literature, most of which was sacred. Among the groups
performing earliest in this century are included professional and ama-
teur singing societies, located in the major cities of the United States
and Canada, touring choirs from Russia, and American collegiate choirs.
The latter ensembles had the greatest impact on the anthem, for they
emphasized that particular genre in their concerts. Through the pro-,
grams presented by the choirs from Northwestern University, St. Olaf
College, and Westminster Choir College, the unaccompanied anthem be-
came the focal point in American sacred music during the second quarter
of this century. As a result, a wealth of new a cappella anthem litera-
ture was written and performed.
At the same time as the collegiate a cappella choirs were
sweeping the country with their extraordinary performances, the Salt
Lake Mormon Tabernacle Choir, considered by many to be the finest volun-
teer church choir in America, was providing weekly programs of a variety
of foreign and domestic anthems to radio audiences. With additional
75
76
concert tours and several professional recordings to its credit, this
choir established a new precedent of quality performances from a vol-
unteer church ensemble.
In the same way that the Mormon Tabernacle Choir inspired vol-
unteer church choirs, Robert Shaw, as the director of New York's Col-
legiate Chorale, inspired American choral directors in the art of choral
music-making during the 1940's. Actually, these groups did a great deal
more than merely promote certain anthems, for by inspiring local church
choirs and directors to improve their weekly performances, they gave
increased credibility to the entire genre of the anthem in America.
Professional and Amateur Singing Societies
The Musical Arts Society of New York
The renaissance in choral singing that took place in the 1930's
and 1940's actually began around the turn of the century with professional
and amateur choirs that specialized in a cappella singing.1 The first
such professional choir in America, the Musical Arts Society of New York,
was established by Frank Damrosch during the final decade of the nine-
teenth century. Organized to educate New York society to the beauties
of a cappella music, the group consisted originally of fifty-five pro-
fessional singers and sang a total of sixty-one concerts in its twenty-
five seasons. The. repertory of the choir contained sacred and secular
pieces dating from the sixteenth to the nineteenth centuries. While it
1. The following material is drawn largely from Richard Irl Kegerreis,

"History of the High School A Cappella Choir" (unpublished Ph.D.
dissertation, University of Michigan, 1964), 60-70.
77
included no examples of newly composed American anthem literature, the
repertory provided a musical foundation from which many collegiate
a cappella choirs drew inspiration some two decades later.
The Mendelssohn Choir of Toronto
Begun in 1894, less than one year after the establishment of
the Musical Arts Society of New York, the Mendelssohn Choir of Toronto
consisted of amateur singers only. The nucleus of the seventy-five
member ensemble was the Jarvis Street Baptist Church Choir, directed
by organist-choirmaster A. S. Vogt. The choir specialized in a cappella
singing, a result of Vogt's musical training in Leipzig, where he was
exposed to the famous St. Thomas Choir.
The first program presented by the Mendelssohn Choir of Toronto

2
included seven selections, of which two were sacred. After three con-
cert seasons, the choir's sacred repertory was expanded to include un-
accompanied oratorio selections. American audiences were first introduced
to this ensemble in 1907, when the group toured New York, and again in
1908, when it toured the Chicago area. According to Peter C. Lutkin,
the founder of the collegiate a cappella choir in the United States, the
concert tours of this group are noteworthy because they helped to increase
3
the sensitivity and awareness of the American public to the choral art.
2. The sacred selections were Sweet and Lew by Mason and Judge Me 0 God
by Mendelssohn. The name "Mendelssohn" was chosen for the choir be-
cause Vogt intended to include at least one unaccompanied part—song
or Psalm by Mendelssohn on each program. Ibid. , 69.
3. Peter C. Lutkin, "The Values of A Cappella Singing," Music Teachers'

National Association Proceedings (1923), 54.
78
Russian Choirs
American taste for a cappella anthem literature from Russia
was indelibly influenced by the performances of Russian choral ensem-
bles in the United States during the third and fourth decades of this
century.^ According to Richard Kegerreis, the first Russian choir to
perform in the United States was founded in New York when Charles Crane,
a New Yorker who had been living in Russia, convinced Ivan Gorokoff to
come to America with him to establish a choir at the Russian Orthodox
Cathedral in New York City.5 Gorokoff, in turn, brought five singers
with him: two tenors, two basses, and one "octave bass." The unique-
ness of these five singers coupled with Crane's effectiveness in organ-
izing tours for the choir produced large audiences eager to hear the
ensemble perform.
Aside from the Cathedral Choir, all of the other Russian ensem-
bles which toured the United States were native organizations. Three
of the more prominent groups were the Ukranian Choir, directed by
Alexander Koshetz, the Russian Symphonic Choir, directed by Basil
Kibalchick, and, probably the most famous, the Don Cossack Chorus, which
made its American debut on November 4, 1930. The Ukranian Choir was
in the United States from 1922 to 1924, and the Russian Symphonic Choir
4. The following material is drawn primarily from Kegerreis, 71-75.
5. No date for this event was available; however, Crane was active in
Russia around 1920, For an account of Russian sacred music and
its influence on the anthem in America, see Chapter Five.
6. "Octave-bass" is one of the numerous terms used to describe the type

of bass singer who could sing an octave below the normal bass range.
79
toured in 1923 and 1924. Russian sacred music was not a featured part
of the performances of these three groups. However, they undoubtedly
drew attention to the numerous editions of Russian liturgical music
that were being published in this country at the time.^
Collegiate A Cappella Choirs
None of the ensembles mentioned thus far devoted its repertory
exclusively to American sacred music; in fact, except for the Russian
Cathedral Choir, most of them performed little sacred music at all.
Instead, they established a new medium of performance in the United
States—that of the unaccompanied choral ensemble—which was subse-
quently imitated by three outstanding American collegiate choirs. It
was the performances of these ensembles from Northwestern University,
St. Olaf College, and Westminster Choir College that shaped the di-
rection of American anthem composition for several decades, for these
ensembles featured sacred music, especially anthems, in their reperto-
ries.
Northwestern University
The founder of the collegiate a cappella choir in the United
States was Peter Christian Lutkin, who served for many years as dean
of the Department of Music at Northwestern University, Evanston, Illi-

8
nois. According to Lutkin, the formation of the first collegiate
7. See Chapter Five.
8. For a discussion of Lutkin's career, see Chapter Four.

80
a cappella choir was the result of ari ensemble organized to demonstrate

9
Renaissance choral music for a class at the university. Lutkin was
so taken with a cappella singing that he became an expert on the sub-
ject, often speaking out in its support at such programs as the annual
meeting of the Music Teachers' National Association, where he delivered
papers in 1909, 1916, 1917, 1923, and 1928. These papers were subse-
quently reprinted in the organization's journal. In addition to being
the first collegiate ensemble to adopt and promote the practice of
a cappella singing, the Northwestern University Choir undoubtedly had
the distinction of performing Lutkin's anthems as well.
St. Olaf College
In 1903, F. Melius Christiansen came to Northfield, Minnesota,
to build the Music Department at St. Olaf College, a small denominational
institution supported by the Norwegian Lutheran Church.^ In addition
to musical and administrative duties at the college, Christiansen also
directed the choir at Northfield's St. John's Church. Following an
unsuccessful attempt to locate suitable church music for the choir,
Christiansen made some of his earliest contributions to American anthem
9. Leonard Van Camp notes certain discrepancies in the account of this

choir's origin. Leonard Van Camp, "The Formation of A Cappella
Choirs at Northwestern University, St. Olaf College, and Westmin-
ster Choir College," Journal of Research in Music Education XIII
(Winter, 1965), 228.
10. For a discussion of Lutkin's anthems, see Chapter Four.
11. The following is drawn from Leola Nelson Bergmann, Music Master of
the Middle West: The Story of F. Melius Christiansen and the St.
Olaf Choir (Minneapolis: The University of Minnesota Press, 1944);
Albert Rykken Johnson, "The Christiansen Choral Tradition: F. Melius
Christiansen, Olaf C. Christiansen, and Paul J. Christiansen" (un-
published Ph.D. dissertation, University of Iowa, 1973), 96-129;
Kegerreis, 82-110; and Van Camp, 230-236.
literature by rescoring for mixed chorus a number of pieces originally
written for men's voices. To this group he added a few new songs and
published the collection in 1905 under the title Sangerfesthefte, a

12
song festival pamphlet. The texts of most of the selections, as
. „ . 1 3
might be inferred from the title, were written m Norwegian.
The year following his first publication, Christiansen took
leave from the college and traveled to Leipzig to spend the winter of
1906-1907 studying composition and arranging under the direction of
Gustave Schreck, a noted composer and director of the Thomasschule.
The result of his study included new arrangements of forty-four chorales
and folk hymns for the St. John's Choir. Upon Christiansen's return to
St. Olaf in 1907, the St. John's Choir was invited to sing for the
annual conference of the Norwegian Lutheran Church in America, which
was held on the campus of the college. For this concert, the choir
presented eleven of Christiansen's chorale settings in which sermonettes
by John Nathan Kildahl, then President of St. Olaf College, were inter-
spersed. Under the title Sang Gudstjeneste (song services), these
eleven arrangements were published during that same year, with the re-
maining thirty-three arrangements issued in six successive collections

from 1908 to 1916.
In addition to conducting the St. John's Choir, which consisted
mostly of students from the college, Christiansen also directed a male
12. Leola Bergmann notes the publication of twelve Korsange by Chris-

tiansen in 1894, which pre-date these pieces. Bergmann, 210.
13. Ibid., 100.

82
octet and the Choral Union, a large mixed choir organized to sing ex-
tended works at special functions. In 1908, Christiansen divided
this large ensemble into separate men's and women's choruses, both
of which he directed until 1911. During that year, he combined these
groups to present a series of concerts under the name of his church
ensemble, the "St. John's Church Choir." In 1912, when this choir was
invited to visit several Lutheran churches in Wisconsin, it was re-
named the "St. Olaf Lutheran Choir," a title deemed a more appropriate
representation of the college.^
For the 1912 tour, the choir presented a program of eight
chorale and folk hymn arrangements by Christiansen, all sung in Nor-
wegian, a selection from Messiah by Handel, three selections with English
texts by Soeldermann, and two sermonettes by Kildahl.^ During the next
eight years, from 1912 to 1920, programs contained a decreasing number

16
of pieces sung in Norwegian, A preference for Norwegian pieces was
still evident in the program of 1913, with seven of the eleven selec-
tions performed in Norwegian. However, by 1918, only two selections
were sung in Norwegian. The remaining ten selections were performed
14. Van Camp, 232. The denominational affiliation "Lutheran" was

eventually dropped from the choir's appellation.
15. Copies of concert programs performed by the choir from 1912 to

1944 are included in Bergmann, 218-227.
16. Albert Johnson notes that the sermonettes were eventually dropped
from these programs, and the music was then presented in a concert
format. Johnson, 123.
83
in English.^ According to Kenneth Jennings, the current conductor
of the choir, the majority of students attending St. Olaf College during
those early years spoke Norwegian; therefore, it was the easiest and
most comfortable language in which to sing. He explains the gradual
shift to English texts as part of the conscious efforts being con-

18
tinually made by the college to become "American."
Although the repertory performed by the St. Olaf Choir from
1912 to 1942, the year Christiansen retired, was always unaccompanied,
curiously, it reflected little of the a cappella literature from the
sixteenth century. In fact, works by Palestrina and his contemporaries
are found only seven times in the choir's programs. Instead, the ma-
jority of the repertory, all of which was sacred, consisted of Bach
motets, music from the Russian liturgy, and the arrangements and com-
positions of Christiansen. On the basis of the frequency with which the
repertory of this choir was imitated by other choral groups during the
first half of this century, it is clear that the impact of the St. Olaf
Choir on the development of the American anthem was enormous.
17. Some pieces performed earlier in Norwegian were translated into Eng-
lish for the later programs. For example, the compositions Lover
den Herre and Deilig er Jorden were sung in Norwegian for concerts
from 1912-1917. For the national tour of the United States in 1920,
these pieces were translated into English as Praise to the Lord and
Beautiful Savior, respectively. See Chapter Four for a more detailed
analysis of Christiansen's anthems.
18. Interview with Kenneth Jennings, February 6, 1981, New Orleans,

Louisiana.
84
Westminster Choir College
John Finley Williamson began his musical career as a paid singer

19
in the quartet of the First Lutheran Church in Dayton, Ohio. An un-
skillful tonsillectomy forced him to abandon his singing career and
to investigate the opportunities as a director of choral music. As a
result, he became convinced that an amateur choir, properly rehearsed
and developed, could enhance the spiritual nature of worship more ef-
fectively than the quartet had been able to do. In 1920, he was hired
by the Westminster Presbyterian Church of Dayton to produce such a group.
Sixty singers were chosen by audition for the first choir, which
gave its premiere performance during the morning worship service of the
Westminster Presbyterian Church on Sunday, September 19, 1920. For
this service the choir sang two anthems by Dudley Buck, entitled God Is
20
Our Refuge and Rook of Ages. Williamson created such a skillful choral
ensemble from amateur singers that the fame of the choir spread quickly, •
and on November 16, 1922, the group embarked on a Northeastern tour whose
stated purpose was to promote and inspire the development of similar
church choirs.^
19. The following information is drawn from Charles Harvey Schisler,

"A History of Westminster Choir College 1926-1973" (unpublished
Ph.D. dissertation, Indiana University, 1976); David A. Wehr, "John
Finley Williamson (1887-1964): His Life and Contribution to Choral
Music" (unpublished Ph.D. dissertation, University of Miami, 1971);
and Van Camp, 236-238.
20. Schisler, 36.
21. Wehr, 39.

85
As the fame of the choir spread throughout Protestant churches,
so did the demand for church-music directors who could produce similar
effects within the local congregation. To satisfy this increasing
demand, the Westminster Choir School was established in 1926 as an out-
growth of the music program at Dayton's Westminster Presbyterian Church.
One year prior to the founding of the choir school, Williamson outlined
a plan he felt would provide musical education for church members, a

22
service to the community, and a program of worship for the church.
His system, which became known as the "Westminster Plan,11 called for a
department of music to be established in the church under one head.
Three choirs would be formed: a junior choir for ages six to twelve,
an intermediate choir for ages twelve to eighteen, and an adult choir
for ages eighteen and older. A fourth choir for high school students,
ages sixteen to twenty-one, could be implemented if the church member-
ship were large enough to support this additional ensemble. The church
would have an orchestra, and each member of the adult choir would re-
ceive free voice lessons from the director. The music director, whom
Williamson called the "minister of music" would receive a full-time

23
salary for his work.
22. John Finley Williamson, "Choir Organization and Training," Music

Teachers' National Association Proceedings (1925), 227-228.
23. The term "minister of music" was created by Williamson and Dr.
Evans, the pastor of the Westminster Presbyterian Church. Ac-
cording to the Westminster Plan, music was to be used as a means
to the end of "ministering to the needs of men and women. . . ."
Wehr, 71.
86
The sole function of the school was to train ministers of music
to reproduce the Westminster Plan in other churches. This vocational
approach resulted in a curriculum similar to that in a conservatory
or trade school, with emphasis on performance. No degrees were offered,
and no stress was placed on academic training. Only the development of
skills in singing, conducting, vocal pedagogy, theory, and organ or
piano were taught.
For three years, from 1926 to 1929, the school was located in
Dayton. During that time, the most important activities were choir tours.
Concerts brought fame to the choir and subsequently the school, but more
importantly, they brought more students to the school to learn the West-
minster Plan and to acquire musical training. Each year the number of
requests for Westminster-trained ministers of music exceeded the avail-

24
ability of graduates.
National recognition first came to the school in 1929, at the
end of its stay in Dayton. Walter Damrosch, then conductor of the New
York Symphony, heard the choir and suggested that the group tour Europe.
As a result, an eight-week tour, financed by Dayton philanthropist
Katharine Talbott, was planned. By the late 1930's, having performed
in some 250 cities in the United States, and having completed a second
tour to Europe that included Russia, the Westminster Choir had become
both nationally and internationally recognized.
During this time of increased celebrity, Williamson moved the
school from Dayton to Ithaca, New York, to join with the Ithaca Conservatory
24. Schisler, 76.

87
and Affiliated Schools. The move provided two advantages: enlarged
facilities, which could not be found in Dayton, and accreditation with
the authority to confer bachelor of music degrees under the New York
25
Board of Regents. The curriculum was expanded to four years.
Before the school moved to Ithaca, local churches had been
contacted concerning the use of Westminster students. These students
arrived on campus one month prior to the beginning of classes and spent
the entire month working in their new churches. Once school began, the
students left Ithaca on Friday at noon and returned the following Monday
morning. A suitable choral library was provided at the school for the
use of these student ministers of music.
Three weeks after school began in 1929, the student directors
brought their adult choirs together to be led by Williamson and to hear
the Westminster College Choir sing. During the years that the college
was located in New York, numerous festivals of this nature were held.
By 1932, fifty churches in the central New York area were served by
Westminster students and graduates.^
The repertory performed by the Westminster College Choir on
their numerous tours favored compositions by American composers. F.
Melius Christiansen and the St. Olaf Choir had such an impact on
Williamson that one-fourth of the numbers performed by the Dayton Choir
on the 1922 tour were composed by Christiansen.
25. Ibid., 89.
26. Ibid., 106.

88
The 1923-24 program was similar to the 1922 program in that
all music was sacred and unaccompanied. Again, the influence of
Christiansen is clearly seen, with nearly one-third of the pieces per-
formed credited to him. Anthems composed or arranged by contemporary
composers living in America made up more than two-thirds of the concert

27
and were as follows:
Fierce Was the Wild Billow . . . . . . . T. Tertius Noble

What Christ Said Peter C. Lutkin
The Shepherds ' Story Clarence Dickinson
Awake3 Awake Nicolai, arr.
Beautiful Savior 12th century, arr.
Praise to the Lord Soehren, arr.
Psalm Fifty F. Melius Christiansen
Listen to the Lambs R. Nathaniel Dett
Ballad of the Trees and the Master . . . Philip James
0 Godj Bear My Prayer Alexandr Grechaninov
The 1929 European tour program reflected the best selections
from previous years plus the addition of four Negro spirituals arranged
by Hall Johnson and Frederick Hall. Williamson's increasing independence
from Christiansen is indicated by the performance of only one piece by
the latter. A selection arranged by William Arms Fisher entitled Going
Home was included from the previous year. This piece, a vocal arrange-
ment of the Largo from the New World Symphony by Dvorak, quickly became
a favorite of the audiences and was included in many successive concerts.
27. The tour programs of the Westminster Choir from 1923 to 1934 are re-
printed in Ibid. , 534-540.
28. Although this particular selection was composed while Grechaninov

lived in Russia, he moved to the United States in 1929 and gained
citizenship in 1946. See Chapter Five.
89
The program for the 1934 Russian Tour included secular music
for the first time because Williamson's tour manager successfully con-
vinced him that the Russians wanted to hear such pieces. Secular num-
bers performed on the tour included arrangements of Negro songs such as
St. Louis Blues, the cowboy song Whoopee-Ti-Yi-Yo, and the Song for
Occupations by Roy Harris.
Programs for tours from 1938 to 1958 are similar to those per-
formed during the 1930's. Additions were mostly arrangements of American

29
folksongs and original works by American composers.
In 1932, Williamson relocated the school for the third time in
its present location at Princeton, New Jersey. This location allowed
the choir to utilize the new medium of radio broadcasting more effec-
tively. From 1932 to 1940, the group made numerous broadcasts for the
Educational Programs of the National Broadcasting Company, located in
nearby New York City. These broadcasts reached audiences throughout the
30
United States, South America, Mexico, and Canada. During World War II,
the group participated in weekly broadcasts to South America, and during
the 1940's and 1950's, made numerous broadcasts originating from Carnegie
Hall.
The move to Princeton also provided the choir with a close prox-
imity to two major symphony orchestras, the New York Philharmonic, and
29. For example, the 1949 program included Alleluia by Randall Thompson,
Lost in the Night by F. Melius Christiansen, Hosanna by Norman
Lockwood, and Tears by Roy Harris. A copy of this program is in-
cluded in Wehr, 136.
30. Schisler, 183.

90
the Philadelphia Orchestra, along with a variety of smaller orchestras.
Between the years 1934 and 1958, the year Williamson retired, the choir
sang over forty different works with these orchestras in some 162 per-
formances."^
Recordings by the Westminster Choir were begun in 1925. Between
1934 and 1941, the group went to New York for eight different recording
sessions. Radio broadcasts, concerts with symphony orchestras, and
recordings all increased the fame of the school throughout the United
States and beyond.
To expose a greater number of music directors to the Westminster
Plan and to give them the opportunity to study and learn from Williamson
32
personally, summer classes were begun in 1930. In the same year the
summer schools began, Williamson initiated a two-day festival for the
choirs themselves. The first festival, named in honor of Katharine
Talbott, included some 3,000 singers representing forty-six churches in
New York, Ohio, and Pennsylvania, who were all trained by Westminster
students and graduates. The first day was given to the performance of
unaccompanied choral works, ranging from Palestrina to Christiansen, and
the second day was devoted to the singing of great hymns, arranged and
orchestrated by David Hugh Jones, a Westminster faculty member. Two
additional Talbott festivals were held in the summers of 1931 and 1932.
31. Wehr, 135.
32. Williamson had offered master classes in the summers intermittently

from 1917. Ibid., 108.
33. Schisler, 117-122.

91
The Talbott festivals included performances of the Mass in B
Minor by J. S. Bach, a tradition begun in 1931, plays by the drama
class, a concert by "past, present, and future Westminster choirs,,f
and a massed choir program of hymns and anthems conducted by William-

34
son. In 1938, the Talbott Festival was combined with the Contemporary
American Music Festival, and in 1939, it was held at the World's Fair
in New York, attracting choirs trained by Westminster graduates nation-
wide. The festivals were discontinued during the 1940fs, but resumed
in 1950.
The Contemporary American Festivals were held at Westminster
during the years 1936 to 1938, under the direction of Roy Harris. The
purpose was to encourage the composition of both choral and instrumental
works by American composers. During the course of the three-year ex-
istence of the festival, forty-one choral and thirty-two instrumental
pieces were performed.^
Unlike Lutkin and Christiansen, Williamson neither composed nor
arranged choral music. Instead, he edited choral works from previous
centuries. Between the years 1931 and 1945, G. Schirmer published "The
Westminster Choir Series,11 a collection of forty-two works primarily
from the Renaissance and Baroque, all edited by Williamson. The "John
Finley Williamson Series," issued between 1947 and 1951 by the Carl
Fischer Publishing Company, contained three masterworks and three con-
temporary pieces edited by Williamson. A publication by the Westminster
34. Ibid. , 190.
35. Ibid., 191.

92
Choir College entitled "The Westminster Choir College Library Series,"
begun in 1949 and edited by faculty member Normand Lockwood (1906- ),
was taken over a year later by the Theodore Presser Company, which
published seventy-five titles during the next seven years. All but
nine of the titles were composed or arranged by alumni, faculty of the
Westminster Choir College, or students of the summer schools.^ A
fourth collection entitled "From the Library of John Finley Williamson"
was published between 1961 and 1964 by Golden Music Publishers. This
collection consisted of sixteen pieces selected by Williamson and edited
by George Lynn, alumnus and former faculty member of Westminster Choir
College. The sixteen pieces were drawn mostly from the Renaissance and
Baroque eras."^
During the second quarter of this century, the popularity of
a cappella singing among American choral ensembles and the resulting
increased composition of unaccompanied choral music was largely due to
the performances of the Northwestern, St. Olaf, and Westminster College
Choirs. The influence of these three groups continued for many years
as the programs of their concerts were studied and imitated by the
directors of both church and school choirs throughout the United States.
The Salt Lake Mormon Tabernacle Choir
On August 27, 1847, just twenty-nine days after the first group
of Mormon pioneers led by Brigham Young arrived in the Salt Lake Valley,
36. The series, now edited by Westminster faculty member David Stanley
York, was resumed by Theodore Presser in 1962. Wehr, 117.
37. The contents of these four series are included in Wehr, 260-265, and
all except the series issued by Golden Music Publishers are contained in
Schisler, 515-519.
93
a special conference was held during which a choir sang two hymns.38
Thus began the evolution of one of the most famous and influential choral
ensembles ever assembled in the United States—The Salt Lake Mormon
Tabernacle Choir. During the first half of the twentieth century, the
famed choir, with approximately 375 members, toured throughout the
United States, sang weekly on the radio, and made several recordings.
Undoubtedly, the performances of this volunteer organization served as
a role model for church choirs throughout the country, both as a guide
in selecting repertoire and as an example of good choral singing.
Initially organized to sing for worship services and special
conferences, the choir has always been under the general direction of
the Presidency of the Mormon Church, who also appoints its conductors.
Membership in this group has always been voluntary, consisting of church

39
members who work in and around Salt Lake. Although the ensemble has
been partially reorganized from time to time, usually at the request of
an incoming conductor, it has never been disbanded, thereby allowing a
tradition of quality musical performances to be established.
The choir first performed outside the Salt Lake Tabernacle in
1862, and in the intervening century, has toured many times throughout
the United States. One of the outstanding Eastern tours occurred in
1911, when the group traveled to New York for a ten-day engagement at
38. The following is drawn primarily from J. Spencer Cornwall, A Cen-

tury of Singing: The Salt Lake Mormon Tabernacle Choir (Salt
Lake City, Utah: The Deseret Book Co., 1958), 1-250, and from
Charles Jeffrey Caiman, The Mormon Tabernacle Choir (New York:
Harper and Row, 1979), 3-97.
39. Auditions were not required until 1916. Cornwall, 10.

94
Madison Square Garden. The return trip was highlighted by a concert
at the White House for President and Mrs. William H. Taft. Concert
tours to the west coast have been enhanced by two appearances at the
Hollywood Bowl—in 1926 and 1941. Throughout its history, the choir
has sung for non-church-related events, some of the most notable in-
cluding concerts for the Ford Motor Company's national expositions in
1934 and 1935. One of the most significant tours occurred in 1955 when
the entire organization toured Europe as missionaries for the church.
Because of its size, the ensemble has always produced acute
technical challenges when recorded. The choir has therefore had the
unusual privilege of initiating many new technical devices or processes
as these were developed by the American recording industry. The first
recording was made on September 1, 1910, by the Columbia Phonograph
Company of New York City, a forerunner of Columbia Records, with sub-
sequent recordings throughout the first half of this century. In 1929,
Earl J. Glade, founder and manager of Salt Lake's pioneer radio station
KSL, suggested to officials of the National Broadcasting Company, with
which his station was affiliated, that the choir be featured in a net-
work broadcast. Although some officials of the choir feared that the
sound might not be accurately reproducible, the first national broad-
cast took place on Monday, July 15, 1929, from 3:00 to 3:30 p.m. In
1932, station KSL and the choir's broadcasts were assumed by the Colum-
bia Broadcasting System. Today, the weekly broadcast is the oldest

40
continuous radio program on national network. The weekly broadcast,
40. The thirty-minute program is currently carried by 570 radio and

television stations in the United States and is heard in many other
parts of the world via tape recordings. Caiman, 184.
95
entitled "Music and the Spoken Word," is divided into three sections
with music by the choir assuming approximately one-half of the radio
time. Choral music for the program consists entirely of inspirational,
but not always sacred music. Most sacred compositions are written by
Protestant composers, and each broadcast includes a hymn, which by
adding or deleting a verse, serves to control the air time. Only this
hymn plus the opening and closing themes are constant from week to week.
The selection of music for each program is usually made by either the
conductor or the assistant conductor.^ Through these weekly radio
and later television broadcasts, the Mormon Tabernacle Choir of Salt
Lake has not only promoted the singing of American anthems but has also
been a key force in preserving the entire choral tradition in American
churches during this century.
The Collegiate Chorale
While visiting the campus of Pomona College, Claremont, Cali-
fornia, in the spring of 1937, Fred Waring, the famous creator and
director of "Fred Waring and the Pennsylvanians," observed a student,
Robert Shaw, conduct the campus glee club and was so taken with the
young man's ability that he offered him a position with the Pennsyl-
vanians. Shaw was to organize and train a special glee club of twenty
young men for a new radio series scheduled to begin the following October.42
41. Ibid.
42. The following information is drawn largely from Joseph A. Mussulman,

Dear People... Robert Shaw (Bloomington, Indiana: Indiana University
Press, 1979), 3-112,and from Michael Steinberg, "Shaw, Robert (Lawson),"
The New Grove Dictionary of Music and Musicians (London: Macmillan,
1980), XVII, 235.
96
Shaw entered college with aspirations of becoming a minister
like his father, but instead was attracted to the performance of sacred
music. He did not become actively involved in this pursuit until 1941,
when Gordon Berger, who had organized a community choir of some sixty
young singers at New York's Marble Collegiate Church, asked Shaw to
guest conduct one selection at a rehearsal of the new g r o u p B e r g e r
easily pursuaded Shaw to become the official conductor of the choir,
which was named the "Collegiate Chorale," in honor of the church where
it met to rehearse. The first official public performance of the
Collegiate Chorale took place at the Riverside Congregational Church
on Sunday, March 8, 1942. Rehearsing two nights per week—one night on
the music to be performed, the other on developing musical skills through
classes and lectures—the Chorale performed a wide variety of sacred
musical programs with increasing frequency. Specializing in the per-
formance of larger choral works from the eighteenth and nineteenth cen-
turies and an increasing number of major contemporary choral works, the
choir often collaborated with major American orchestras.
Although the repertory of the ensemble did not include a signi-
ficant number of anthems, the influence of Shaw and this ensemble on
the performance of American church music was significant. During the
decade of the 1940's, the group had achieved national recognition, but
the war years demanded the resignation of so many members that new singers
43. In 1938, Shaw conducted Waring's Glee Club in a single concert of sa-
cred music at the Riverside Congregational Church, and in the fall of
1941, he conducted a mixed ensemble of twenty-five singers in a sin-
gle concert of sacred music at a New York hotel. Mussulman, 6, 20.
97
were constantly sought. An annual turnover of forty to fifty percent
of the organization created room for choral musicians from across the
country who joined the choir for a season or two, then left to establish
their own choirs and reproduce the high calibre of choral singing to
which they had been exposed.
In 1948, Shaw assembled thirty singers, who were mostly members
of the Collegiate Chorale, and a pianist to produce a nine-week tele-
vision series. Under the name "The Robert Shaw Chorale," the ensemble
sang half-hour programs consisting of madrigals, hymns, Bach chorales,
Brahms part-songs, Broadway show tunes, folksongs, and spirituals. Shaw
remained as conductor of the Collegiate Chorale until 1954, when the
severity of the Robert Shaw Chorale's touring schedule necessitated his
resignation.
Chapter IV
ANTHEMS BY PROMINENT MUSIC EDUCATORS
No group of people took a more active role in the development
of the anthem in America during the first half of this century than
did those composers who taught in the institutions of higher learning.
All of those discussed in this chapter either directed or accompanied
choral ensembles in their schools, and as a result, were especially
abreast of current trends in choral music. They all wrote for their
own choirs, but for different reasons. For example, the anthems of
F. Melius Christiansen, many of which were composed early in the cen-
tury, supplied a good part of the basic repertory of the then newly
formed St. Olaf Choir. For others, however, such as Carl F. Mueller
and Noble Cain, who were writing during the height of the choral ren-
aissance, it may have been as much the desire for recognition as a
composer as it was the necessity of providing suitable literature that
prompted their voluminous outpourings.
The trend toward the composition of sacred rather than secular
choral music was established by such as Christiansen and John Finley
Williamson, who worked in church-related colleges where sacred music
was emphasized. Even though most of the composers discussed in this
chapter also served churches as ministers of music, it is likely that
their associations with the educational institutions played a more
significant role in both the calibre and the volume of their publications,
98
99
for here they probably discovered an acceptance of innovations and a
quality of choral ensemble that was often not to be found in their
churches.
During the late nineteenth century, the study of music in
American high schools consisted largely of developing the ability to
sight-read. Though not an end in itself, the acquisition of this skill
enabled students to sing music of such substance that, around the turn
of the century, performances of both oratorios and secular cantatas by
newly formed choral ensembles were possible.1 In the years before the
first World War, the most common musical activity in American high
schools consisted of weekly assemblies during which all of the students

2
engaged in choral singing. These gatherings were mainly for the en-
joyment and exposure to music, rather than the preparation of music for
performance, but by 1920, many of the required assembly choruses had
been replaced with elective choruses created to perform oratorios and

3
other major choral works.
In some schools, the larger choruses were supplemented with
additional choral organizations, called "glee clubs," that consisted
of selected students who were willing to devote time to musical ac-
tivity outside the school curriculum. Separate boys' and girls' glee
1. Edna Louise Davis, "A Study of Trends and Developments in Music

Education in the United States from 1930 to 1960" (unpublished
D.M.A. dissertation, Boston University, 1964), 42-43.
2. Richard Irl Kegerreis, "History of the High School A Cappella Choir"

(unpublished Ph.D. dissertation, University of Michigan, 1964), 151.
3. Ibid. , 154.
100
clubs usually rehearsed one hour per week after school, and they sang
for both civic and church functions.^ In addition to performing a
variety of both sacred and secular pieces, the separate glee clubs were
combined on occasion to sing lighter operettas, a practice that was to
be regretted by many choral directors, for the performances of operettas
by the glee clubs began to replace the performances of oratorios by the
larger choruses during the early 1920's.5
Fortunately, during the third decade, a number of state choral
organizations initiated vocal contests after the manner of existing in-
strumental festivals. As the competition between choirs intensified,
many directors prepared for these contests by forming a new mixed glee
club of their best singers. To illustrate the ability of these new
mixed ensembles, selections that were designed to be sung without ac-
companiment were included in their repertory. As the skill of the new
choirs increased, the number of unaccompanied selections soon outweighed
those requiring accompaniment, and some organizations drew attention to
this feature by changing the designation "glee club" to "a cappella
choir."
During the 1930 s, the educational experience of many high
school students was shortened by the Depression and later on by the
war. Yet, both mixed glee clubs and more importantly a cappella choirs
4. Richard Kegerreis notes that in some midwestern high schools, the

glee clubs provided the only choral ensembles. Ibid. , 163.
5. Ibid, 160.
6. Davis, 76.
101
flourished during this time. Beginning about 1925, performances by
new a cappella choirs at the national conferences of music educators
showed an increasing use of sacred music by these groups—in some cases
to the exclusion of all secular music.7 Their repertory frequently
paralleled that of the St. Olaf Choir,8 consisting largely of the
choral works of F. Melius Christiansen, the unaccompanied works of the
European masters from the sixteenth through the eighteenth centuries,
and examples of anthems in the Russian style.
According to Joseph Mussulman, by the early 1940's, nearly two
hundred college-level music departments had been established in the
United States, most of them since the turn of the century.9 Many col-
leges and universities offered degrees in performance and music educa-
tion as well as classes in composition. Moreover, a number of music
conservatories, based on European methods, had been created by individual
benefactors. This growth in college-level music education owed much to
the organization of the first collegiate a cappella choirs at Northwestern
University, St. Olaf College, and Westminster Choir College during the
7. An examination of concert programs presented at the annual confer-

ences oftthe Music Supervisors National Conference and the Music
eachers National Association reveals that in some schools with
both an a cappella choir and glee clubs, the glee clubs sang only
secular music. See, for example, the program of the Wichita High
f?£ £ Organizations presented at the Southwestern Conference
of the Music Supervisors National Conference. "Southwestern Music
Supervisors Conference," Journal of the Proceedings of the Music
oupervtsors Nat%onal Conference (1929), 299.
8. For a history of this choir, see Chapter Three.
9. Joseph A. Mussulman, Dear People... Robert Shaw (Bloomington: In-

diana University Press, 1979), 30-31.
102
first three decades and to the corresponding establishment of music
departments at each of these three institutions.10 In addition to
popularizing the medium of a cappella singing, from which the high
school music directors drew their inspiration, the conductors of the
Northwestern University and St. Olaf choirs, Peter Christian Lutkin
and F. Melius Christiansen, added new material to the ever-growing body
of anthem literature.
Peter Christian Lutkin
Peter Christian Lutkin (1858-1931), the founder and first dean
of the Northwestern University School of Music, began his musical career
at age ten as an alto soloist for the Episcopal Cathedral in Chicago.''''''
Beginning in 1879, he taught piano for two years at Northwestern Uni-
versity, Evanston, Illinois, and from 1881 to 1884, he studied piano,
theory, and organ in Europe. Returning to Chicago, he assumed the duties
of organist first at the St. Clement's Church, from 1884 to 1891, and
10. In her master's thesis of 1934, Ruth Steese surveyed 226 American
colleges and universities concerning their choral organizations and
discovered that forty-eight percent of the choral groups initiated
between 1927 and 1932 were a cappella choirs. Ruth Zimmerman Steese,
Choral Music in American Colleges" (unpuslished master's thesis
Eastman School of Music, 1934), 9. '
11. The following biographical material is drawn from Bruce Carr,

Lutkin, Peter Christian," The New Grove Dictionary of Music and
Musicians, ed. by Stanley Sadie (London: Macmillan, 1980), XI 372-
Waldo Seldon Pratt and Charles N. Boyd, "Lutkin, Peter Christian," '
Grove's Dxctvonary of Music and Musicians: American Supplement
(New York: Macmillan, 1937), VI, 275; and Nicolas Slonimsky, "Lutkin,
Peter Christian," Baker's Biographical Dictionary of Musicians, sixth
ed. (New York: Schirmer Books, 1978), 1053.
103
then at the St. James Church, from 1891 to 1897. In the same year that
he began at St. James', he also accepted a position on the faculty of
Northwestern, where he succeeded to the post of dean of the School of
Music in 1895. The following year, he was instrumental in founding a
chapter of the American Guild of Organists at Northwestern, and his
accomplishments were recognized with the awarding of an honorary doc-
torate in music from Syracuse University in 1900. Lutkin was active
in the Music Teachers' National Association, for which he wrote numerous
articles and papers and served as president in 1911 and 1920. In 1908,
he presented a series of lectures at Western Theological Seminary in
Chicago that were compiled and published in 1910 as Music in the Church.12
In addition to his numerous anthems and services, Lutkin also served as an
editor for the Methodist Sunday School Hymnal (1905) and the Episcopal
Church Hymnal (1918).
Of his presumed many anthems,13 probably none is better known

14
than the short choral benediction The Lord Bless You and Keep You.
For the most part, the body of this anthem is constructed homophonically
and utilizes diatonic chords that include leaps and chromatic writing
reminiscent of the compositions of Horatio Parker (Example 42). Above
all, the popularity of this piece rests on the concluding sevenfold
amen. By skillfully combining melodic imitation, smooth conjunct sequence
12. Peter C. Lutkin, Music in the Church (Milwaukee: Young Churchman Co.,
13. A bibliography of Lutkin's compositions was unavailable.
14. Clayton F. Summy, 1900, no. 1089.

104
Example 42. Peter C. Lutkin, The Lord Bless You and Keep You
(Clayton F. Summy, no. 1089), measures 6-10.
ctxsc.
and give you peace, the Lord make liisfaxtosWup-on you, and le gra - ci'ous unto you,
arrive youpeace, tlielord.make His iacetosUe up-on you, and be gracious,
Y r Y f — i i —V V V 1 1 1— 17 / r
and give ppea2,tLe Lxd.maLe Hi^facetojliine up orv__ you, and IK cjra-cious;
peace, -the Lord make His (ace to s W up on you, andke CI0US
patterns, and chordal progressions that abound with major, minor, and
diminished sevenths, Lutkin produced an anthem that has survived until
this day as the concluding piece at many worship services and choral
concerts (Example 43).
Perhaps the most significant contribution to the repertory of
the American anthem was made by F. Melius Christiansen (1871-1955), who
came to the United States from his native land of Norway in 1888.^
15. The following biographical material is condensed from Leola Nelson

Bergmann, Music Master of the Middle West: The Story of F. Melius
Christiansen and the St. Olaf Choir (Minneapolis: The University
of Minnesota Press, 1944), 25-84.
105
Example 43. Peter C. Lutkin. The Lord Bless You and Keep You
(Clayton F. Summy, no. 1089), measures 14-23.
ccesc. m f
men, p — men,
men. A — men, A — men., _
cccst*
£
f Cf f
m i i
/?s
106
Christiansen desired to become a concert violinist and, upon arriving
in America, attempted to support himself by securing positions as a
church organist and as a private teacher of violin. He was unsuccessful
in these early attempts, and as a result, held several odd jobs as a
laborer during the following two years. In 1890, he moved to Marionette,
Wisconsin, where he was hired to conduct a Scandinavian band and subse-
quently to play the organ and direct the choir at Our Savior's Lutheran
Church. Christiansen resigned both positions in 1892 and moved to
Minneapolis to attend Augsburg Seminary. The following year, he left
the seminary and enrolled at Northwestern Conservatory of Music, also
in Minneapolis, from which he graduated in 1894. During the next three
years, Christiansen sang with a male quartet from the seminary, directed
a choir at the Trinity Lutheran Church in Minneapolis, and taught pri-
vate lessons in violin. In 1897, after recently marrying, he left
Minneapolis with his bride and traveled to Leipzig, Germany, where he
studied composition and violin at the Royal Conservatory. Receiving his
diploma in 1899, Christiansen and his wife returned to Minneapolis,
where he supported his family by teaching private lessons and con-
certizing. In 1903, Christiansen left Minneapolis a final time and
moved to the small community of Northfield to join the faculty of St.

16
Olaf College.
Christiansen's compositions and arrangements fall into three
major categories: large works, works in several movements, and small
16. For further information concerning Christiansen and the establish-

ment of the St. Olaf Choir, see Chapter Three.
107
works.17 The large works include The Prodigal Son, The Reformation
Cantata, and the Centennial Cantata, all of which were written between
1917 and 1925, the middle years of Christiansen's compositional life.
The sixteen segments of the oratorio The Prodigal Son (1918) are
written for SATB chorus; women's chorus; soprano, alto, tenor, and
baritone soloists; organ and orchestra. These portions are cast into
two parts, which are separated by a sermon, and their text is drawn
entirely from the scriptures. The Reformation Cantata was composed
for the celebration of the 1917 merger of three Lutheran synods into
18
the Norwegian Lutheran Church. It is scored for a large ensemble
consisting of male, female, and mixed choruses; solos for soprano, tenor,
and baritone; and orchestral accompaniment. The audience is invited to
participate in the last of the eleven numbers, and unlike the preceeding
work, there is no sermon. The Centennial Cantata was written for the
1925 commemoration of Norwegians in America. Its ten selections include
many of the same features as the previous example, with the addition of
a sermon.
The works in several movements were composed at a slightly la-
ter time period and include Psalm 50 (1922), Celestial Spring (1930), and
From Grief to Glory (1936). Scored for unaccompanied divided choirs,
these three pieces, which according to Richard Hanson, include some of
17. This particular categorization is adapted from Richard David Hanson,

"An Analysis of Selected Choral Works of F. Melius Christiansen"
(unpublished Ed.D. dissertation, University of Illinois at Urbana-
Champaign, 1970), 290.
18. Leola Bergmann disagrees saying that another cantata Store ting har
Herren gjort (Wondrous Things the Lord Hath Done, 1916) was written
by Christiansen for the 1917 event. Bergmann, 182-183.
108
Christiansen's finest efforts, are more challenging to perform than the

19
larger works. The three movements of Psalm 50 are set to the scrip-
tual text. For both Celestial Spring and From Grief to Glory, Chris-
tiansen composed the music before their Norwegian texts, which depict
a pantheistic theology, were translated. He then commissioned Oscar
R. Overby, a friend and textual collaborator, to supply English versions.
Both of these pieces consist of four movements. Those of Celestial
Spring are thematically related in the form of a song-cycle, but those
of From Grief to Glory bear no musical connection.
The third and largest category consists of small choral works
that were composed between 1906 and 1946. Included here are Christiansen's
anthems, many of which were either written or arranged for the then newly
formed St. Olaf Choir. A number of these pieces were set initially to
Norwegian texts and only later translated into English. Among the works
of this group are found original compositions, arrangements based on
folksongs, and arrangements based on chorale tunes.
One of Christiansen's most beautiful original compositions is a

20
Christmas anthem entitled Lullaby on Christmas Eve. Christiansen first
21
published the melody in 1906 as a violin and vocal solo. It reappeared
many years later reshaped as a piece to be sung by the St. Olaf Choir at
the college Christmas Festival. For this choral version, Overby supplied
19. Hanson, 295.
20. Augsburg, 1933, no. 136.
21. F. Melius Christiansen, Vuggesang pm Julekvelden (Kristiania, 1906),

cited in Hanson, 201.
109
an English translation of a Norwegian poem by Albert J. Lange. Chris-
tiansen used only the first and last of its three stanzas in his modi
fied-strophic design.
Written for a cappella choir, the anthem is actually a soprano
solo with vocal accompaniment. The effect of a lullaby is created by
the recurring rhythmic pattern J J > J ^ , set in a compound meter,
and what starts out as a rather dull diatonic harmonic setting over a
pedal bass is retrieved through the use of numerous chromatic chords
(Example 44). Voice parts are generally conjunct, and there is an
occasional use of imitation in the predominantly homophonic setting.
Text painting is found in measures thirty-one and thirty—two, in which
the choir imitates the ringing of Christmas Eve bells (Example 45).
Example 44. F. Melius Christiansen, Lullaby on Christmas Eve

(Augsburg, no. 136), measures 1-8.
110
Up balx to her 5onq:

k Si J>-
Example 45. F. Melius Christiansen, Lullaby on Christmas Eve

(Augsburg, no. 136), measures 31-32.
Klin^-klang, klmcj - klaiuj,
klatu), klln^ - klamj,
s' w- r >• r
KIIIKJ - klan<j( kling -klarcj.
Ill
As was mentioned above,22 Christiansen's interest in folksongs
and chorale tunes dated back to his second sojourn in Leipzig (1906
1907), where he reharmonized forty-four pieces for his choir back home.
One of the most famous of those arrangements based on folksongs, is
Beautiful Savior,23 This anthem was one of those originally sung by

24
the choir in Norwegian as a part of the Sang Gudstjeneste and has
been performed by the group nearly every year since 1913. First pub-
lished in 1919, the piece has sold over one million copies and has been
recorded extensively.25 Based on a twelfth-century Silesian folk tune,
the strophic anthem is composed for eight-part a cappella choir and
alto solo. Voice parts move conjunctly for the most part, with ascend-
ing and descending passing tones, neighboring tones, and suspensions
adding harmonic interest. No modulations occur, but the listener s
interest is retained by the variation in the vocal textures used for
each stanza. Christiansen creates a warm, rich texture in the opening
stanza by duplicating the four-part chords of the women's voices an
octave lower in the men's parts. There is no text here, only the in-
scription con bocca ohiusa. The melody is given to the first altos-
baritones and accompanied by a sweeping countermelody scored for the
first soprano-first tenor combination. For the second stanza, the
22. See Chapter Three.
23. Augsburg, 1919, no. 76.
25. George Jellinek, "Music in the Air," Society of European Stage

Authors and Composers XVI (Spring, 1962), 2, cited in Hanson, 223.
112
women's voices are omitted, except for a solo alto who sings the text.
The men continue to hum a chordal accompaniment to which a second coun-
termelody is given, this time to the baritones. The hushed mood of the
previous stanzas is replaced in the final stanza with a resonant sonority
created by assigning the text to all voice parts and the melody to unison
women (Example 46). Olaf C. Christiansen, a son of F. Melius, revised
Example 46. F. Melius Christiansen, Beautiful Savior (Augsburg, no. 51),

measures 31-38.
'j m
Beau- h' -ful 5av — lor! Lord of the na - tiorw!
• /*ulg Choras
tor- Lord of fcJi tionSt
the original arrangement in 1955 to incorporate certain changes, speci-
fically a reassignment of the key from D-flat major to D major and a
shortening of the coda, which reflected an alteration that the choir had
gradually made through its successive performances.

113
Of Christiansen's arrangements based on chorale tunes, one of

26
the most popular is Lamb of God, the melody of which dates from 1540.
Except for the final four measures, polyphonic writing is used con-
sistently throughout the piece. The chorale tune is set in the soprano
voice, and the other parts are woven into a contrapuntal accompaniment
beneath it. The text is abbreviated by the lower parts in the first
section, but it is utilized almost entirely by these voices in the
second half of the through-composed anthem.
Although imitation is found throughout the piece, it is used
most effectively at the beginning of the second half on the text "Our
sins by Thee were taken" (Example 47). Overlapping cadences and sus-
pensions created by conjunct motion in all voice parts work together
to add interest to the ponderous diatonic harmonization.
Example 47. F. Melius Christiansen, Lamb of God (Augsburg, 11-0133),

measures 23-28.
Our sins by T W were tak —
Our si
sins by T W were tak
Our sins by Jhzc were tak

i ff 7 , ,
26. Augsburg, 1933, no. 11-0133.

114
Second Generation A Cappella Composers
During the third and fourth decades, the original repertory of
the St. Olaf Choir was faithfully continued by many graduates of the
school who secured positions as choral directors in high schools, churches,

27
and other Lutheran colleges throughout the country. At the same time,
the exposure to Christiansen inspired other graduates to continue the
a cappella tradition in their own works. An example of the latter is
Morten J. Luvaas (1896-1973), the well-known editor of the Allegheny
Choral Series.^ After graduating from St. Olaf College, Luvaas became
interested in choral composition and arranging while teaching high school
in Erie, Pennsylvania; failing to find suitable music for his choir, he
began to compose.^ In 1930, he became the director of the Allegheny
College Choir in Meadville, Pennsylvania, a position he retained until

his retirement in 1965.
Like his teacher, Luvaas added many examples to the repertory
of a cappella anthems. His work is characterized by homophonic choral
writing,which occasionally includes subtle text or mood painting. An
27. In his examination of selected concert programs of Lutheran colleges

from 1921 to 1941, Paul Neve has clearly shown that Christiansen s
compositions and arrangements became a staple for Lutheran choral
programs during those years. Paul Edmund Neve, "The Contribution
of the Lutheran College Choirs to Music in America" (unpublished
D.S.M. dissertation, Union Theological Seminary, 1967), 143-203.
28. The series is published by the Neil A. Kjos Company.
29. Neve, 89.

115
example of such text painting is found in the Christmas anthem Sweetly

OA
Angel Choirs are Singing, in which a series of major and minor triads
and their inversions are repeated, creating the effect of ringing bells
(Example 48). Another more subtle example of the same technique is
Example 48. Morten J. Luvaas, Sweetly Angel Choirs are Singing

(C. C. Birchard, no. 1283), measures 15-20.
atempo
Fear ye not, for God, Fear ye not,-for God SetvkHis Son on earth.
ye not for God, Fear ye not,for God

ye not, for God Fear ye not, for God
I
j*-f -f- f -o-
wm
Fear ye not for God, Fear ye not, for God 5«nls H»5 Son on earth.
I
a tehn-pQ =i
m J J IJ J m
Fear ye not, for God in Kea-ven 5endsHii Son on earth
o|
found in 0 Sing Unto Him where, in the opening section, a triplet
figure is tossed back and forth between voice parts as they exclaim
"0 Sing Unto Him, Ye Nations of Earth." Midway through the anthem,
the men and altos solemnly intone "If lonely the road, if heavy thy
load" to which the sopranos joyfully reply "The Master is ever beside
30. C. C. Birchard, 1938, no. 1283.
31. C. C. Birchard, 1940, no. 1355.

116
thee." Their triplet response, contrasted with the preceding stolid
quarter notes, subtly unifies the piece by recalling the optimism of
the opening section (Example 49).
Example 49. Morten J. Luvaas, 0 Sing Unto Him (C. C. Birchard,

no. 1355), measures 22-26.
TW Waiter \s ever oeside Tnee
heay - y thy
1 j j | p j - - v
If lone - ly the road, If lieav - y tliy load, ^
As editor of the Allegheny Choral Series, Luvaas arranged a
number of sacred folksongs for choir. In these pieces, both diatonic
harmonizations and irregular phrasing caused by phrase extensions are

32
common. A more unusual example is Christ Has Arisen, which is based
on a twelfth-century folksong. Written for a cappella choir, the an-
them consists of two complete stanzas. The first stanza is designed
for full choir and uses polyphonic writing throughout. The second
32. Neil A. Kjos, 1940, no. 2010.

117
stanza is given to unison children's choir, with repetitions and ex-
tensions added by the full choir. A short transition based on the
opening melody leads to a concluding statement that is constructed of
a two-part canon at the fifth and that utilizes both a new melody and
a new meter (Example 50).
Leland B. Sateren (1913- ) is an example of the many Lutheran
composers who continued the a cappella tradition in other Lutheran col-
leges.^3 In 1935, he received his undergraduate degree from Augsburg
College, Minneapolis, Minnesota. Upon graduation, Sateren accepted a
position as director of public school music in Moose Lake, Minnesota,
where, during his three-year tenure, a fire destroyed the music library.
Denied the funds to purchase new music, Sateren began to compose. In
1943, he received a master's degree from the University of Minnesota,
and in 1946, he joined the faculty of his alma mater, Augsburg College,
where he directed the famous Augsburg College Choir. He was named chair-
man of the Music Department in 1950, a position he held until his re-
tirement in 1978. Sateren is credited with some three hundred composi-
tions, nearly all of which use religious texts. Additionally, he prepared
several introits and graduals for a collection of contemporary service
music issued by the Augsburg Publishing House.
33. The following biographical material is drawn from Bruce Calvin

Brown, "The Choral Music of the American Lutheran Church: A Study
and Performance of the Music of Daniel Moe, Paul Fetler, and Rolf
Espeseth" (unpublished D.M.A. dissertation, University of Southern
California, 1974), 27—28, and Neve, 90-91.
118
Example 50. Morten J. Luvaas, Christ Has Arisen (Neil A. Kjos,

no. 2010), measures 45-54.
Andante J * 132,
cresc.
'$*7}'] -fr jl>
^'|- Uirl
Vow and in e-ter-ni -tv Now and in e-ter-ni-ty, Com-tart and our
**p, ^
Now and in e-Wni-ty, Now ani in £ -W-ni-tv
Cam -fort and our
WWr
(Ufa* SAJ
Com - -fort and our joy is He. HaJ
fort and our joy is He.Hal-le-lu - ia'Hil le-lu-ia! Hal- le - lu — ia!

r] ig •
119
Sateren's anthems display some techniques that make them note-
worthy. By the frequent use of homophonic passages, which include
unison to eight-part writing, he produces a variety of strong choral
sonorities. Most of the anthems involve some modulation to the rela-
tive key, and they include irregular phrasing created by changing meters.
Like Luvaas, he incorporates subtle text painting into his compositions.

34
For example, in Grieve Not the Holy Spirit, he strategically intro-
duces the interval of the minor second at various pitch levels to
illustrate the text from Ephesians 4:31, "Let all bitterness and wrath
and anger and clamor and evil speaking be put away from you, with all
malice" (Example 51). The following verse of scripture, "Be ye kind
Example 51. Leland B. Sateren, Grieve Not the Holy Spirit (B. F.
Wood, no. 670), measures 26-27.
f
Let all
wrath, and an - <pr, and mal - ice, let all
- nessf wrath, and an - Qfrt let all
34. B. F. Wood, 1947, no. 670.

120
one to another tenderhearted, forgiving one another. . (verse 32),
is then set in consonant harmonies over a soothing, rhythmical pedal
bass (Example 52).
Example 52. Leland B. Sateren, Gvieve Not the Holy Spirit (B. F.
Wood, no. 670), measures 46-49.
Rather slowly (J = 6 4 )
IWIxye kind, be kind one_ to an-otk *r,
i
tr 6 0 ^ — * ar~r
Be ye kind one to an - oik - et Let all
And Wye kind one to
let all [it-kr-KSS, h,let an <p;cla-raor, e - vil ipcax inq.t

-<lgwly L* ~ fell J J i
8 m a f tzr
5 i 1 1 i i j —
_ _ _ i>J _—Lj
Ld f I i W
Although John Finley Williamson did not compose anthems him-

oc
self, he influenced a number of composers who did. One of the best-
known of these is David Hugh Jones, a student of T. Tertius Noble.
Jones was hired to play the organ at the Westminster Presbyterian Church
of Dayton, Ohio, in 1925, one year prior to the opening of the choir
school, where he served on the faculty. In the fall of 1926, when the
Westminster Choir went on tour, Jones remained in Dayton to direct the
35. For a discussion of Williamson's editions, see Chapter Three.

121
music in the church. During this time, he composed three anthems, one
36
of which was entitled God Is a Spirit. Upon his return, Williamson
taught the new piece to the choir, and when Katharine Talbott, the
choir's primary benefactor, heard the anthem, she was easily persuaded
37
to supply the funds needed to send Jones abroad for further study.
The anthem, constructed in a binary form and written for eight-
part a cappella choir, displays Jones' ability to create musical in-
terest through a variety of choral effects. The conjunct melodic line
of the first part, sung by the basses, is accompanied by a humming
chorus of varying voice combinations, producing an unusual, ethereal
effect. In the first two phrases, the bass is doubled at the unison
and in thirds by the humming tenors (Example 53). The second part is
skillfully constructed in a four-voice fugato that concludes homo-
phonically with a series of eight-part chords. Harmonizations are dia-
tonic and include no modulations.

A graduate of Westminster Choir College during Williamson's
administration and one who has also made noteworthy contributions to
38
American anthem literature is George Lynn (1915- ). In addition
36. C. C. Birchard, 1928, no. 546.
37. Charles Harvey Schisler, "A History of Westminster Choir College

1926-1973" (unpublished Ph.D. dissertation, Indiana University,
1976), 71.
38. The following biographical information is drawn from "Dr. George

Lynn," The Diapason LV (May 1, 1964), 2; "George Lynn," The Amer-
ican Organist XLVII (June, 1964), 25; "George Lynn," Journal of
Church Music XI (October, 1969), 16; and E. Ruth Anderson, "Lynn,
George," Contemporary American Composers: A Biographical Dic-
tionary (Boston: G. K. Hall, 1976), 280.
122
Example 53. David Hugh Jones, God Is a Spirit (C. C. Birchard,

is a Spir — it and that w o r - s h i p Him, awl
to completing a bachelor's degree at Westminster Choir College in
1938, Lynn received a master's degree from Princeton University and
an honorary doctorate from Harding College. From 1945 to 1950, having
returned to Westminster, he served as associate conductor of the West-
minster Choir. During the following years, he taught at the University
of Colorado in Boulder, and he served as organist-choirmaster in sev-
eral churches in Denver, where he also established the Golden Music
Publishers. Returning again to Westminster in 1963, he was named
professor of conducting and director of the Westminster Symphonic Choir.
One year later, he became the conductor of the famed Westminster Choir,
a position he held until 1969, when he resigned from the college and
123
returned to Denver to resume activities in composition and church music.

39
He is currently a faculty member at Loretto Heights College, Denver.
Lynn provided many examples of choral arrangements and, like
his teacher, Williamson, editions of earlier works. In 1945, he pub-

. 40
lished a free paraphrase of the hymn Pass Me Not3 0 Gentle Savior for
SATB a cappella choir. By introducing accidentals and non-functional
chords throughout the piece, Lynn produces a harmonization that obscures
the tonality of the piece at certain points (Example 54). Conjunct
motion along with a frequent use of imitation in all voice parts char-
acterizes this most unusual hymn arrangement. The tonal complexities
of this anthem limit its use to choral groups consisting of better mu-
sicians.
For the 1949-50 concert tour of the Westminster Choir, Lynn,
who was then associate conductor, arranged the Negro spiritual Lonesome
Valley.^ This arrangement subsequently became one of the initial pub-
lications of the "Westminster Choir College Library," a series for which
Lynn contributed a number of arrangements and modern editions of earlier
works. Written for a cappella choir, the anthem is actually a solo with
choral accompaniment. Although the harmony in this piece is strictly
conventional, interest is created in the vocal accompaniment, which
contains fragments of the text set rhythmically to contrast the flowing
solo line (Example 55).
39. Craig R. Short, Directors of Music Faculties in Colleges and Uni-

versities U.S. and Canada 1980-1982 (Boulder, Colorado: The College
Music Society, 1980), 46.
40. Mills Music, 1945, RH-11.
41. Theodore Presser, 1950, no. 312-40062.

124
Example 54. George Lynn, Pass Me Not, 0 Gentle Savior (Mills

Music, RH-11), measures 15-23.
on otli - CM Thou art smil
my luiro - tie, burn - He
hum — He, Urn - He
jium - ble
while on oth-eis Thou a r t ,?tnil

While on oth - ers 1 W art
oth-eis Thou art smil-iruj,
Do not-
125
Example 55. George Lynn, Lonesome Valley (Theodore Presser,

312-40062), measures 5-8.
oprano ooio
Je-sus walkd- (ksUeOTievJ-lep— He U t o w a l k — it hy Ofi
I i one-some
-sas v/a e-5ils walled tLs lone-some vai-W

1
i
The anthems and arrangements of Luvaas, Sateren, Jones, and
Lynn were not only important contributions to the a cappella repertory
of their particular choirs, but they served to spread the a cappella
tradition established by their predecessors. For a number of years,
through the late 1930fs and into the 1940Ts and beyond, their works
were performed repeatedly by many choirs performing in secular as well
as sacred institutions throughout the country.
Clarence Dickinson
42
Hailed as the !fdean of American church musicians," Clarence
Dickinson (1875-1969) held the position of organist-choirmaster in
several churches, while at the same time, he achieved national recognition
42. "Dr. Clarence Dickinson Recovering from Illness," The Diapason

XLIX (March 1, 1958), 1.
126
A3
as a music educator. In addition to composing and editing a wealth
of church music, he performed as a concert organ recitalist for a
time, and at his death, he held the distinction of being the last
surviving founder of the American Guild of Organists.
Dickinson began his formal education in music in the United
States first at Miami University, Oxford, Ohio, and then at Northwestern
University, Evanston, Illinois (1890-1894). Traveling to Europe, he
studied piano, organ, and composition in Berlin and Paris. Upon his
return to the United States, he was appointed organist at the Patrician
Unitarian Church in Chicago and subsequently as organist-choirmaster

44
at the St. James Episcopal Church in that same city. In 1909, he
moved to New York City, where he assumed the same post at the Brick
Presbyterian Church, a position he held for fifty years.
Three years after arriving in New York, Dickinson was also
appointed organist-choirmaster at Union Theological Seminary, where he
taught courses in the history of sacred music and in composition. In
1928, he founded the School of Sacred Music there and served as its
director until 1945.
43. The following biographical information is drawn from Vernon Gotwals,

"Dickinson, Clarence," The New Grove Dictionary of Music and Mu-
sicians, ed. by Stanley Sadie (London: Macmillan, 1980), V, 428-
429; Waldo Seldon Pratt and Charles N. Boyd, "Dickinson, Clarence,"
Grove's Dictionary of Music and Musicians: American Supplement
(New York: Macmillan, 1937), VI, 188-189; "Dean of Church Musicians
Retires from Brick Church," The Diapason LI (August 1, 1960), 21;
Clarence Dickinson, "Growth of Seminary School of Music Told by
Founder," The DiapasonLI (December 1, 1959), 56; and Alexander
McCurdy, "Clarence Dickinson: Pioneer of Church Music," Etude LXVIII
(March, 1950), 18, 52.
44. Specific dates for these occurrences were unavailable.

127
Dickinson was well-known as a concert organist and maintained
this reputation by means of the many recitals he gave throughout the
country for nearly seventy years. In addition to composing and arranging
numerous single works for organ, he edited the Historical Recital Series
45
for Organ, a series that served for many years to educate organists
46
as well as influence their musical taste. With his wife, Helen,
whom he met in Europe and married in 1904, he wrote a pedagogical manual

47 48
for organists that was reissued many times, a music history textbook,
49
a series of complete worship services, and numerous anthems. Dickinson
is best remembered for his arrangements of folk hymns and anthems from
foreign countries, for which his wife often provided English translations."^
The Dickinsons devoted some forty summers traveling throughout the world
in search of undiscovered texts and melodies for their anthems. Many of
their arrangements were published either individually or in collections
by the H. W. Gray Company.
45. Clarence Dickinson, ed., Historical Recital Series for Organ (New York:
H. W. Gray, 1917).
46. Gotwals, 429.
47. Clarence Dickinson, The Technique and Art of Orqan Playing (New York:
H. W. Gray, 1922).
48. Helen A. Dickinson and Clarence Dickinson, Excursions in Musical

History (New York: H. W. Gray, 1917).
49. Paul Austin Wolfe, Helen A. Dickinson, and Clarence Dickinson,

Choir Loft and the Pulpit... (New York: H. W. Gray, 1943).
50. One example is the collection of fifteen Moravian anthems edited by

Dickinson and translated by his wife. Although this edition is note-
worthy, it falls outside this study. Clarence Dickinson, ed., Early
American Moravian Church Music, The English Translations by Helen A.
Dickinson (New York: H. W. Gray, 1954-1957).
128
Of Dickinson's original choral works, one of the most frequently
performed is the Christmas anthem The Shepherds' Story Scored for
a cappella choir in eight parts, the anthem bears a stylistic resem-
blance to those pieces in the then current Russian style. The spec-
?f
tacular opening fanfare on the text Nowell,f suggests both the mood and
the technical difficulty of this piece (Example 56). Unaccompanied solo
passages and solo passages accompanied by a cappella choral parts that
consist of intricate melodic and rhythmic passages clearly earmark this
anthem for the trained ensemble (Example 57).
Example 56. Clarence Dickinson^ The Shepherds' Story (H. W. Gray,

S.C. 30), measures 1-6.
Allegro mcxLrato
Mow - ell!
Now- ell! Now 11! Now- ell! Now - ell! Sjod w deaf I
Now- ell! Now ! Now - ell! Now-ell! Now - ell! Sinqwedear)

Allcaro n>oderato
&
51. H. W. Gray, 1913, S.C. 30. Interestingly, the text of this piece
is adapted from the traditional English carol Masters in This Halt.
129
Example 57. Clarence Dickinson, The Shepherds' Story (H. W. Gray,

S.C. 30), measures 57-61.
And a lit - tie child On W arm tad.

Now r ell! Mow.
ffow-eil! Now - en« Now - ell! ôw-clll Now-ill! A/ow-ell!
is?" Said tW \\it\as to

Now—- ell!
Now - elll Now - ell! Now - c 111 Now - eJH

130
52
Jesus, Refuge of the Weavy> a choral arrangement based on
an ancient Florentine melody, clearly displays Dickinson's ability to
compose accompanying vocal parts in such a manner that the melody is
featured constantly. Much of the piece is written for solo voice or
unison choir with organ accompaniment. In those passages written for
full choir, Dickinson highlights the melody by scoring the accompanying
voices in their lower, softer registers (Example 58). Fragments of the
Example 58. Clarence Dickinson, Jesus3 Refuge of the Weary (H. W.

Gray, no. 240), measures 1-7.
Moderalo
!
/jLP« — jJ I | J 1 h 1 1 - »
L
"0 Lu r
I A. J ^ J •»—fcfcr"J— _•
1 j
Je - suf Refuge of tlw weary, OL-ject of_ the jpir-ttfr love,
~o—a~ . _ ~o—^ •_ ?' a o—jr

Je - Ref use of_ the weary, 0o - ject of thegpir- tti love,
> W j V
f <str <
Je-sas, Ref-uge of iJiewa-tyt 01)- ject of_ iiig love,
J e w , Ref-mje of tKeweairv. Ob-ject of the spirit* love,
-pf (Voice*\&
52. H. W. Gray, 1946, no. 240.

131
melody are set off imitatively in the organ introduction and later in-
verted in the organ interludes between verses (Examples 58, 59, and 60)
Example 59. Clarence Dickinson> Jesus3 Refuge of the Weary (H. W.

Example 60. Clarence Dickinsonf Jesus, Refuge of the Weary (H. W.

/0|. . ^tnngs 3,1"

cM" r r r r m r r r r mf r f f f f f •
o a
-f Ck Flute S'
-01 m—
.* * f j Tr
Van Penman Thompson
Van Denman Thompson (1890-1969) was a member of the faculty of
DePauw University, Greencastle, Indiana, from 1911 to 1956. He was
musically educated at Colby Junior College and at the New England
Conservatory of Music, where he completed his study and graduated in

53
one year. During his career, he also undertook post-graduate study
t!
53. Van Denman Thompson," The Diapason LX (February 1, 1969), 1. Bio-
graphical information is also drawn from "Director Thompson Leaves
DePauw Post,'1 The Diapason XLVII (June 1, 1956), 41, and "Van Denman
Thompson," Music Educators Journal LV (May, 1969), 20.
132
at Harvard University and at the New England Conservatory. In 1928,
he became minister of music at the Gobin Memorial Methodist Church,
and from 1937 until his retirement in 1956, he was dean of the School
of Music at DePauw. He taught organ at the university, and although he
did not tour as a concert artist, he was considered by many of his stu-
dents to be one of the finest organists in the United States. Thompson's
playing for Sunday afternoon vespers at DePauw was once cited in a survey
of the student body as the "single feature of campus life that was most
f . . . If54
religiously inspiring.
Thompson possessed the ability to write convincingly for audi-
ences with differing levels of musical appreciation. As a result, his
anthems were published by a variety of music publishers. At one extreme,
he was a regular contributor to the Lorenz magazine and oratorio series,
while at the other, he ventured boldly into more contemporary styles,
providing material for such sophisticated publishing houses as the G.
Schirmer and H. W. Gray Companies.
54. Charles Huddleston Heaton, "In Memoriam," The Diapason LX (February 1,

1969), 14.
55. Begun in 1894 by its founder Edmund S. Lorenz (1854-1942), the Lorenz
publishing company became one of the leading publishing houses to
furnish a selection of monthly periodicals containing choral litera-
ture that was suitable for a variety of abilities and styles. Since
its founding, a total of five magazines, including The Choir Leader,
The Choir Herald, The Quarterly Anthem Folio, The Younger Choir, and
The Volunteer Choir9 have been published by this company. These maga-
zines contained not only music but also essays and helpful tips on
any number of subjects relating to the practice of church music. There
is much evidence suggesting that many composers writing for these pub-
lications did so by using compositional formulas; nevertheless, these
monthly magazines are noteworthy because they provided the entire re-
pertory for many choirs in small churches who were often afflicted
with small music budgets or with poorly trained music directors.
Elwyn A. Wienandt and Robert H. Young, The Anthem in England and
America (New York: The Free Press, 1970), 314-326.
133
Thompson's anthems were among the most popular published by
Lorenz and were therefore performed frequently for many years. Many
of these pieces contain thick organ parts that are used to supplement
56
the rather simple choral sections. An example, Hymn to the Trinity,
includes certain characteristics which are typical of his Lorenz pieces:
unison writing, regular phrases, and homophonic choral settings, all of
which are supported by a diatonic harmonic framework (Example 61). This
Example 61. Van Denman Thompson, Hymn to the Trinity (Lorenz, no.
9578-20), measures 1-15.
Wtlj spirit J =108

'/Tf>
i G>me(tWal nwjk - y King, p ui thy name

-i r
to
al- mujkt - y Ki Help U5 tliy name to smq f

Jt . , r .tf r *-<£-
i
56. Lorenz, 1942, no. 9578-20.

134
is not to imply, however, that such predictability indicates a lack of
musical value in these anthems. For example, melodic unification is
skillfully achieved in 0h3 For a Thousand Tongues to Singin which
the organ interlude at measures twenty and twenty-one (Example 62)
Example 62. Van Denman Thompson, Oh, For a Thousand Tongues to Sing
(Lorenz, no. 9705-2), measures 20-21.
later becomes a memorable women's descant that is used to bring the piece
to a rousing conclusion. Modulations enliven the diatonic framework of
this anthem (Example 63), while a cappella choral sections add a spark
of enthusiasm to the pervading homophony of the piece.
57. Lorenz, 1947, no. 9705-2,

135
Example 63. Van Denman Thompson, Oh, For a Thousand Tongues to Sing
(Lorenz, no. 9705-2), measures 34-40.
Aim.
priVner free j 01^ lieariisvoice, invoice,.
0 Wb/ejoice,
0 Iwtye joice,
r ' r
0h# \w\m soke,
In 1932, G. Schirmer introduced Thompson's new anthem entitled

58
Mercy and Truth. Adapted from the book of Psalms, the piece is scored
for an unaccompanied ensemble of eight voices. Flowing, somewhat aim-
less conjunct melodic lines suggest that the piece may have been ini-
tially conceived for organ, then transcribed for voices. Common char-
acteristics of irregular phrasing and temporary modulations to new keys
are seen in the first phrase, in which the key is shifted from the tonic
to the submediant major within three measures (Example 64). Pedal points
establish an harmonic focus that permits some chordal experimentation
including short examples of quartal harmonies.
58. G. Schirmer, 1932, no. 7665.

136
Example 64. Van Denman Thompson, Mercy and Truth (G. Schirmer, no.
7665), measures 1-7.
Rather fast} flexi'U
Of and truth have met to — <jet!i — er;

co trtt.
cy and truth have met to — qeth — er-,

=i
1
Mer cy and trotK have met to — <jeth cr,
y -f'
r r r -i
-eocorit-
r-
i U
cy and truth have met

Raihgrfcut.flodU
g tempo
W , t - eous-new and peace have lowed each otK - er.
iqnteous-ne^s ace have kissel each oth - er.
ateynfO fcjfct-COUS - IIMS and have kissed each .pth - er

fog***-
eous-n&w and peace have kiwedeach oth-er

137
During the same year, G. Schirmer also published Thompson's

59
Dear Lord, Who Once Upon the Lake, which reflects even more experi-
mentation. Diminished chords, ninths, and quartal harmonizations are
used to create the mystical musical setting needed to express Theodore
Pease's poetic text. Unlike the choral parts in the Lorenz publica-
tions, the choral parts in this piece move independently and incorporate
a good deal of chromaticism and non-harmonic tones. The organ accom-
paniment wanders somewhat aimlessly through the interludes between choral
sections, which like those in the previous example, appear to have been
written first for organ, then transcribed for choir (Example 65).
The significance of Thompson's contribution to the development
of the anthem resulted from his ability to provide literature for such
widely differing markets. No doubt this versatility was financially
profitable for him; however, it seems that those who subscribed to pub-
lications of such as the Lorenz Company were the true benefactors. Lit-
.erature intended for inexperienced ensembles is often shunned by the
finer composers and left for those who write by formulas with little
creativity or skill. By comparison, Thompson provided some fine music
for American church choirs that is still sung today.
Carl F. Mueller
With over 300 original compositions and arrangements, many of
which were issued in series by the G. Schirmer, Carl Fischer, and Harold
Flammer Publishing Companies, Carl F. Mueller (1892- ) was one of the
59. G. Schirmer, 1932, no. 7666.

138
Example 65. Van Denman Thompson, Dear Lord, Who Once Upon the Lake
1
i ; -K- • ,n ,
let that calm our bosomi a ,
M k \ ,
w ' p 0 —
1
O J 1
J
ift that calm our bov — om£__
! J
i* r r i 1 —
lei ' that calm our tasouw Ml,flat dwells for
1 1 i ,
let tliafc calm our to5 ontf

y :
\r • | ^v. , .Id* m
XT
i j -j 1 ; j i.J j
139
most prolific contributors to American anthem literature during the

60
first half of this century. In light of his voluminous output, it
is interesting to note that he began his career not as a composer, but
as an organ recitalist. It was apparently after studying choral di-
recting with John Finley Williamson in 1927 that he became seriously
interested in choral composition. Mueller's compositions can be grouped
into three periods, two of which coincide with the time frame of this
study. From 1926 to 1938, his first compositional period, Mueller at-
tended vocal camps offered by Williamson at the Westminster Choir College,
and from 1928 to 1954, he was director of music at Montclair State Col-
lege, Montclair, New Jersey, where he conducted one of the first a cap-
pella choirs in the eastern United States. It is no surprise that some
of his finest compositions for a cappella choir date from this first
period.
In the summer of 1933, Mueller arranged a choral setting of the
hymn Now Thank We All Our Godwhich was published by G. Schirmer the
following year. Of all of Mueller's compositions, this anthem ranked

fl J
second in number of total sales by 1970. Written for an eight-part
a cappella chorus, it utilizes diatonic chords almost exclusively and
60. The following biographical information is drawn from James S. Grant,

"The Works of Carl F. Mueller with Emphasis on His Anthems" (un-
published master's thesis, The American University, 1970), 1—23;
"Mr. Carl F. Mueller," The American Organist XVII (1934), 518; and
E. Ruth Anderson, "Mueller, Carl F.," Contemporary American Composers.
A Biographical Dictionary (Boston: G. K. Hall, 1976), 315.
61. G. Schirmer, 1934, no. 7745.
62. Grant, 19.

140
avoids modulations, both of which are characteristics found in most of
his other hymn arrangements. To compensate for the bland harmonic scheme,
Mueller incorporates an interesting assortment of vocal combinations.
The arrangement contains three stanzas from Johann Criiger's
famous hymn. The first stanza is sung by a women's chorus in four parts.
For the first half of stanza two, the entire ensemble is called upon,
with the melody sung in octaves by the men. The second half of this
stanza is given to a four-part men's chorus, which balances the earlier
women's ensemble. Stanza three, not found in Criiger's Praxis Pietatis
Melioa (1644), the source commonly cited for this hymn text, begins in
a fugal style and contains new melodic material—yet another character-
istic found in many of Mueller's anthems. Midway through the stanza to
its conclusion, a musical dialogue is created in which the new contra-
puntal material is interrupted by segments of the chorale tune set in
stately chordal harmony (Example 66).
From 1939 to 1952, Mueller's second compositional period and
his most productive years, he produced some two hundred twenty-eight

63
original compositions and arrangements. Among the anthems in this
group is his most famous piece, Create in Me a Clean Heart, 0 God
which also serves as a typical example of his style during this period.
Constructed in a tripartite format, the homophonic piece is scored for
mixed chorus accompanied by organ. In the first part, Mueller avoids
four-part writing by alternating sections for unison women and unison
63. Ibid., 32.
64. G. Schirmer, 1941, no. 8682.

141
Example 66. Carl F. Mueller, New Thank We All Our God (G. Schirmer,
no. 7745), measures 61-71.
-f>lU7UOSSO
To prat# Him wliile we
To prai5e we.
fj i
V I / " ! ' Ij-ii iJ
For all He natn ere - at - ed
lor all He liatK ere - at fJ. -fiu messa
a lemfo
'f " 1 bm ' ' F '=g=

And on&< Jfr at-tend
we uvc
To praise Him wlwle we |jve/

142
men and by concluding with full choir in unison. The first example
of four-voice harmonization is found in the middle section, which is
written in the parallel major key, another characteristic of Mueller'
formal designs (Example 67). The final section, also in four voices,
Example 67. Carl F. Mueller, Create in Me a Clean Heart3 0 God

Poco animate
/ UJL ffw t*
^ i 1 1 Ir / .—fU
Rc — St ore un — to me the of thy $al-

/LfTWjt J 1 1 "j
h
^ - * 1 * * J
—i—
Rc — store un - to me the j°y of tly sal-
Re - store un - to me tie j?y of thy sal-

s
„ Re - .store un - to me tlie of tlXf sal-

1X0
9-iftia znimaio
! Gt. j- (Viafi&nSfM. coupled)
= r=—
/ QJL 4k. -4>
va - tion, un - to me of tliy a l V3 - tion.

1
KJ j w j3-
va - tion, un - to me
htu -£M ill-va-tion,
va - tion( re - store
va-tion, re - store
143
begins in the key of the relative major and moves to the tonic for a
concluding statement of the main theme. Throughout the anthem, choral
sections are reinforced with a simple organ accompaniment that merely
doubles vocal parts. In this piece, as in many of his anthems from
this period, Mueller apparently intended to construct a work that could
be performed by a small choir of modest means, and the volume of his
publications perhaps testifies to the success of his effort.
Other hymn arrangements from this period reflect a style similar
to that of the earlier example New Thank We All Our God. In 1946, Mueller
published an a cappella arrangement of Lead On, 0 King Eternal in a
three-part form that includes three stanzas of the hymn, two of which
are set to the familar "Lancashire" tune. Following an introductory
fanfare, the first stanza is sung by the men in unison and concluded by
the entire ensemble in a four-part hymn style. For the second stanza,
which is set to new melodic material, the choir provides a melismatic
accompaniment for either a tenor or soprano soloist (Example 68). A
short introductory section, using the first phrase of the familiar tune
in an imitative fashion, prepares the final stanza, which is sung by
the four—part ensemble in a broad 4/2 meter. The piece concludes with
a characteristic cadential expansion to eight parts (Example 69). Un-
doubtedly, Mueller intended these hymn arrangements to be sung by larger
festival choirs; however, many of his anthems were rescored for a variety
of vocal combinations, a fact illustrated by the anthem A Mighty For-
tress Is Our God, of which Mueller produced arrangements for seven dif-
ferent vocal combinations.
65. Carl Fischer, 1946, C.M. 6271.

144
Example 68. Carl F. Mueller, Lead On3 0 King Eternal (Carl Fischer,
C.M. 6271), measures 24-29.
lenor of Soprano Solo
mattr.
ffln S J*. J
Kwj E- ker- nal, in swTicrce war
\S^± «T
Noble Cain
The choral arrangements and compositions by the high school
choral director Noble Cain (1896-1977) were an addition to the repertories
of many high school a cappella choirs not found in those of the major
145
Example 69. Carl F. Mueller,. Lead On, 0 King Eternal (Carl Fischer,
C.M. 6271), measures 62-66.
(C TOLL.
i ^
Lead on, 0 God of u on. 0 God of milJ * !
Lad on, 0 God of mujlrt, Icab on, 0 God of miqlit!
-poeo TO-
lead on, 0 God of nrnjlit Lead on, 0 God of m M
a cappella collegiate choirs. Many of Cain's original compositions
and arrangements for choirs utilize sacred texts, a notion undoubtedly
prompted by his father, who was both a musician and a minister.^ With
a degree in music from the American Conservatory of Music in Chicago
and a master's degree in German literature from the University of Chicago,
Cain considered a career as a concert pianist, but instead, he pursued
training in composition, studying with Adolph Weidig and Leo Sowerby.
In 1921, Cain was appointed director of choral activities at
the Nicholas Senn High School in Chicago, where he became an early pro-
ponent of a cappella singing by programming unaccompanied choral music
66. "Cain, (Dr.) Noble," The International Who Is Who in Music, 5th ed.,
ed. by Dr. J. T. H. Mize (Chicago: Who Is Who in Music, Inc., LTD.
1951), 98.
146
as early as 1924. Cain s skill as a conductor enabled him to create
an unusually fine high school a cappella choir that received both local
and national recognition. In 1930, he organized the Chicago A Cappella
Choir, a professional group containing a nucleus of alumni from the
Senn High School Choir, and in 1932, he resigned from Senn High School
to assume responsibilities as producer and director for choral activi-
ties throughout the central division of the National Broadcasting Com-
pany. During the following seven years, he gave over 2,500 radio broad-
casts, mostly with the Chicago A Cappella Choir.68
Throughout his career, Cain directly influenced the development
of the American anthem. As a composer, he provided numerous original
pieces, editions and imitations of Russian choral works, and arrange-
ments of Negro spirituals to the growing repertory of choral music written
for collegiate, high school, and church choirs. As a journalist, he
voiced opinions on a variety of musical and non-musical issues, thereby
-influencing the teaching methods, performance practices, and even the
theology of many American music educators for several decades.
Cain's regard for a cappella singing was evident by 1932, when
he published his only book, Choral Music and Its Practice. In this book,
he declared a cappella singing to be the highest form of choral educa-

f. 69 _
tion. These same ideas were foreshadowed in an article by Cain dated
67. R. I. Kegerreis, 202.
68. Letter from Cain cited in Ibid., 219.
69. Noble Cain, Choral Music and Its Practice (New York: M. Whitmark
1932), 29-30. '
147
70 TT.
one year earlier. His continued enthusiasm throughout the 1930's
is evident in the number of a cappella chorus collections he edited,
including The A Cappella Chorus Book, upon which he collaborated with
F. Melius Christiansen.71 A bibliography of Cain's publications lo-
cated in The National Union Catalog Pre-1956 Imprints includes a
collection dated 1930-1932 and two collections both dated 1934.7^
A change was evident in 1940, however, when he warned against
singing only unaccompanied music even though he still regarded a cappella
singing as the supreme choral experience. He completed the trans-
formation two years later in his second edition of Choral Music and Its
Practice, where he noted that it was "sheer nonsense" to consider
a cappella singing to be the epitome of the choral art.74 By the time
of this writing, he was earning a living primarily as a free-lance guest
conductor, clinician, and festival adjudicator. During the following
decade, the numerous articles which he wrote for various music education
journals consisted mostly of a collage of unrelated thoughts and always
70. Noble Cain, "A Cappella Singing: Its Function in Education," Year-
book of the Music Supervisors National Conference ( 1 9 3 1 ) , 171, 173.
71. Noble Cain and F. Melius Christiansen, The A Cappella Chorus Book
(Philadelphia: Oliver Ditson, 1932).
72. The National Union Catalog Pre-1956 Imprints (London: Mansell 1970")
LXXXIX, 242-243. '
73. Noble Cain, "Choral Fads and Jitterbug Fancies," Yearbook of the Music
Educators National Conference (1939-1940), 339.
74. Noble Cain, Choral Music and Its Practice (New York: M. Whitmark
1942), 40.
148
included a lamentation of the deplorable state of choral music in
which the elements of popular music were being utilized.
the early 1950 s, Cain's writings were devoted primarily
to spiritual conditions in America. In 1951, he summarized these thoughts
by declaring that the church, along with the schools, ought to be lead-
ing the way in exposing young people to choral music. Sacred music,
he postulated, should never be separated from the music literature of
the school, but rather the "schools could stand a little more God!"^
a situation he spent much of his lifetime attempting to bring about.
In addition to numerous editions and imitations of Russian
liturgical music and his concert arrangements of Negro spirituals,^
Cain produced a group of anthems in his own particular style. An ex-
cellent example of his technique is the sensitive setting of the twenty-
third Psalm entitled The Lord Is My Shepherd,11 which was issued during
the 1940 s. The anthem is written for four unaccompanied voices and is -
characterized by the avoidance of extreme vocal ranges and high tessi-
turas. The harmonization is enriched with a variety of altered chords
including major, minor, and diminished sevenths, and the text is illus-
trated by a temporary shift in the mode of the piece from minor to the
parallel major (Example 70).
75. Noble Cain, "Observation and Comment,11 Educational Music Magazine

XXX (January-February, 1951), 18.
76. See Chapters Five and Six.
77. Harold Flammer, 1944, no. 84221.

149
Example 70. Noble Cain, The Lord Is My Shepherd (Harold Flammer,

no. 84221), measures 21-24.
Tnf
} J* j J. =jgj! ^J ail
Iw.ll fear no e — vil. for Thou art witli me.
S-\V.h j>
IP ^0 J =&=
, , « *f,
I will f a r no c - vil, for TKoa art witli
I will fear no e - vil, for Thou art witli
1 w,7l fear no l - vil, fer Thou art with
An example of Cain's skillful hymn arrangements for choir is

7 P>
Chrtst, Whose Glory Fi'L'is ~the Skies* Based on the hymn text by
Charles Wesley, the festive arrangement is intended for either concert
or church choir. Formally, the anthem is constructed in a tripartite
design that is harmonized in C major, c minor, and A-flat major. The
melody of the first section is repeated in the third, but its rehar-
monization lends an unexpected musical departure from the simple setting,
Effective text painting characterizes the middle section, which
begins with the text "dark and cheerless is the morn unaccompanied by
Thee. In contrast to the jubilant running eighth—note patterns of
the outer sections, this middle part begins on a solemn unison pitch

150
in the alto and tenor voices.79 As the single pitch opens into a major
second, a third voice—the soprano—is added to form a cadence in the
key of c minor. From here the soprano leaps a diminished fifth to
form, with the other three parts, a diminished seventh chord that
finally resolves to the subdominant with the proclamation: "joyless
is the day's return till Thy mercy's beams I see" (Example 71).
Cain undoubtedly made his greatest contributions to the anthem
literature through his arrangements and editions; however, he did
create some noteworthy original works. His main market, judging from
the concert programs of the time, were the large, proficient high school
choirs which helped make his anthems some of the most popular during
the decades between the two world wars.
Robert Shaw
In 1946, the Institute of Musical Art was merged with the
Julliard Graduate School to form the Julliard School of Music. In
the fall of that year, Robert Shaw (1916- ) was named director of
choral music at the new institution. Most choral directors associate
Shaw's name with musical composition only in the context of his col-
laboration with Alice Parker, a member of Shaw's Collegiate Chorale
whom he first met in the summer of 1947 while teaching conducting

80
classes at Tanglewood. To be sure, the Shaw-Parker contributions
are significant, for they created together some 216 arrangements, most
79. Interestingly, the formal design closely parallels the setting of

the same hymn by T. Frederick H. Candlyn. See Chapter Two.
80. For additional information concerning Shaw and the Collegiate Chorale
see Chapter Three. '
151
Example 71. Noble Cain, Christ3 Whose Glory Fills the Skies (Harold
Flammer, no. 84270), measures 24-34.
Park awl cheer less is the morn lln-ac-cgm-pm-ted fy TW*. Joy-less,
morn llu - ac-cow-pan- red by l\iec- f
morn On-ac-compafl-jai by T|jzt-t
li dayi re - turn Til) Thy roer-cyi teams I see,
Job less is tlie dayV re-turn XII Tliy mer-cyi W w l

152
of which were published by either Lawson-Gould or G. Schirmer.81 For
the most part, however, these pieces were prepared after 1950, placing
them outside this study. Prior to these publications, Shaw alone com-
posed several arrangements of hymns and spirituals that are noteworthy.82
In March of 1949, Shaw recorded his first album of Protestant
hymns, entitled Onward Christian Soldiers. According to Mussulman, Shaw
had become acquainted with some of the great hymns of the Christian
faith only since arriving in New York after joining Waring in 1937.
These new hymns, some of which he performed with Waring's Glee Club and
others of which he learned through association with various church mu-
sicians, satisfied his inner desire for a mode of religious expression
that lacked the sentimentality of the hymns he had learned as a child.83
For his recording, Shaw rejected those arrangements he occasionally per-
formed with Waring's Glee Club as too spectacular, and he rejected the
original, strophic settings of hymns designed for congregational singing
as too dull. Instead, he arranged his own expressive versions of sev-
eral hymns, m which the mood of each stanza is given its own musical
setting.
Two of Shaw's hymn arrangements published in 1950 and later
included on a 1958 recording84 were For All the Saints,85 based on
81. Mussulman, 174.
82. Shaw s arrangements of spirituals are discussed in Chapter Six.
83. Mussulman, 171.
84
" t Mi3hty Fortress, performed by the Robert Shaw Chorale, conducted
by Robert Shaw (RCA LM-2199, 1958).
85. G. Schirmer, 1950, no. 9908.

153
the tune Sine Nomine by the English hymnist Ralph Vaughan Williams,
and All Creatures of Our God and King,86 a setting of the seventeenth-
century tune Lasst uns Erfreuen, from the Geistliche Kirohengesang.
The former is scored for unaccompanied SATB chorus and utilizes four
stanzas of the hymn. Shaw skillfully enlivens Vaughan Williams' har-
monizations with a variety of vocal combinations and contrapuntal tech-
niques. The entire first stanza is set forth simply by the full choir
singing in unison, a favorite technique of Shaw. For the second stanza,
contrapuntal writing is skillfully used as three- and four-part ensem-
bles sing alternate phrases of the hymn. Here, the basses and baritones
state the main phrase in unison, which is imitated at the octave first
by unison women and then by the tenors in augmentation. The third stanza
begins with a contrapuntal duet that juxtaposes the men singing the third
phrase of the hymn against the women singing the first phrase (Example
72). These parts are interchanged later in this stanza, and the basic
idea is continued and expanded in the final stanza, in which the bari-
tones sing the third phrase of the hymn against an augmentation in the
bass voice. Then, with the first phrase of the hymn tune reappearing
in the soprano voice, it is imitated successively by tenor and alto
voices (Example 73) .
All Creatures of Our God and King is scored for SATB chorus
with organ accompaniment and includes four stanzas of the hymn. Once
again, the first stanza is sung in unison, this time by the men only.
Unison singing by all voices is continued throughout the second stanza,
86. G. Schirmer, 1950, no. 9909.

154
(G SChlrmer n0
^9908); ^ ' > '
Tenor ~grc - lung brujiit-eiu in_^ tlie west-
Die (joki en eve - niruj krujkens (n_ tlie wwt;
Example 73. Robert Shaw For All the Saints (G. Schirmer, no.
9908), measures 49-52.
Bat lo! there breaks & yet more <jlo - rious clay;
lo! a
yrf 3lo-r,»M Jay,
But lo! t U = B "' a

1'!™* Jfy;
I ' f
yet more <jlo-rioas day;
except at cadence points where the harmony expands to four parts.
For this stanza, the voices are accompanied by full organ. The men
are given the melody in stanza three, while the women toss the word
"alleluia" back and forth in a rhythmical fashion. As in the previous
stanza, the voices are joined homophonically at the cadence points.
The concluding phrase of stanza three is telescoped with the beginning
phrase of the final stanza, in which

a two-voice canon at the unison is
155
cleverly created. Midway through this stanza, the canon is expanded to
three voices (Example 74) and then dissolved as all voices join together
for the final statement "0 praise Him, Alleluia!"
In 1950, the idea of creating an anthem from a hymn text and
tune was not a new concept; however, few examples existed that dis-
played the technical finesse of pieces such as these. With his arrange-
ments, Shaw not only challenged the work of his contemporaries, but
actually set a compositional standard that is seldom duplicated by the
writers of hymn-anthems even today.
°f K i
* <G
" Schira
"'
nntli guatjoy
Prate, praise tKe ti-ther, praise ihc Son,
ntjfl Praiset prawe the fa - thei;
Priise, praise the h - ther, praise the Son,

156
1 1
aH. • n - - | , |
praise t U Spir- ttf Three in One, o
C/ .
' r r r 'J
praise the Son,
And praise the Sfir- rt Three in One, Q _ i
"* a f\_ T
And prai'se t h e Spir- it, T W in One,
i 1 r
—r
V.
Chapter V
ANTHEMS IN THE RUSSIAN STYLE
The development of an entire body of unaccompanied choral
music in Russia notably affected stylistic trends in the American
anthem throughout the first half of this century and beyond. As a
result of numerous American editions of Russian choral works and the
concerts of Russian touring choirs, American audiences were first in-
troduced to this new music during the early decades of this century,
even though the genre had existed in Russia for several hundred years
prior to this time. As Russian choral music gained popularity in the
United States, its principal features, including a cappella settings,
thick voice doublings, and rich harmonizations that border on modality,
were included in the original works of some American composers.
During the final decade of the nineteenth century, Russian
sacred music was the subject of an occasional article in British and
American music journals. In 1891, for example, W. J. Birbeck reported
to the Royal Music Association of a recent journey to Russia during
which he had attended a liturgical service and heard choral singing of
unusually high quality.^ Contained also in this report was a rather
lengthy historical account of Russian liturgical music in general. In
1. W. J. Birbeck, "Some Notes Upon Russian Ecclesiastical Music, An-

cient and Modern," Proceedings of the Musical Association XVII
(1890-1891), 137.
157
158
the years that followed, Alfred Swan, an American who was musically
trained in Russia, published numerous articles that dealt with this
topic in a more scholarly fashion. Although his writings were con-
cerned primarily with the history and development of Russian litur-
gical chant, a fact no doubt owing to his interest in medieval chant
development, Swan's contributions created an awareness of this foreign
repertory among American music educators.2
In 1915, N. Lindsay Norden added to the growing body of written
material on this subject with his essay "The Music of the Russian Litur-
i,3
gy; however, Norden's primary contribution was that of a musical ar-
ranger and editor of Russian choral works. As a trained organist and
composer with a degree from Columbia, Norden skillfully adapted over one
hundred Russian selections for American choirs by rescoring some existing
choral parts and replacing Slavic texts with English approximations.4
Of these more than one hundred editions, eighty-one were published by
J. Fischer and Brothers under the title Russian Church Music. It is
largely through such musical arrangements that this genre was brought to
America, for Norden was the first of a group of choral arrangers in-
cluding Canon Winfred Douglas, A. M. Henderson, Max T. Krone, Peter Tkach,
and Noble Cam, to adapt Russian music for American choirs.5
2. R. Sterling Beckwith, "In Search of the Choral Tradition of the

Russian Church, American Choral Review IX (Summer, 1967), 43.
3
' r h S a V " P ^ e V S f* L i n d s a y Norden, "The Liturgy of the Greco-Russian
Church, Music Teachers' National Association Proceedings (1915), 226-236.
4
* P f 1 B r t ° W o r l d W a r I ' Norden founded and directed the Aeolian Choir
yn iCh h e U S e d t0
"rhnr°?
Choral i ^-^- SrOU " To
Traditions," 43. P e r f o r m h i s editions. Beckwith,
5. Ibid., 43-44.
159
Many editions and imitations of Russian music were published
during the first four decades of this century that were performed first
by the various collegiate and professional choirs specializing in a cap—
P e H a singing, and subsequently by high school a cappella choirs and
larger church choirs that attempted to follow the then current vogue.
The style was further promoted by Russian ensembles such as the Ukranian
Choir, the Russian Symphonic Choir, and the Don Cossack Chorus, which
toured the United States during the 1920's and 1930's. Although their
repertory included mostly secular music, these Russian groups skillfully
entertained American audiences with pieces that featured the typical ro-
bust, thick,choral sound.^
When Nikon ascended the patriarchal throne in the mid-seven-
teenth century, he attempted to update the Russian liturgy by revising
the service books and by encouraging the Western harmonization of the
old monophonic znamenny chant, which had been in use in Russia since
the middle ages. A type of part singing in two, three, and four voicess
with the chant, usually znomsnnyt in the bottom voice, had appeared during
the last half of the sixteenth century; however, these early efforts
were largely unremembered a century later, when the patriarch author-
ized the new chant harmonizations. Nikon's musicians were unable to
adapt the old chant to Western harmonies; thus, they began the search
for a more modern substitute.7 During this time, singers from the
6. For further information concerning the Russian Choirs, consult

Chapter Three.
7. Charles C. Hirt, "Graeco-Slavonic Chant Traditions Evident in the

Part-Writing of the Russian Orthodox Church" (unpublished Ph.D
dissertation, University of Southern California, 1946), 186-188.
160
southern Kievan region were imported to Moscow to staff the patri-
archal and Imperial Court Chapel Choirs, two choral ensembles that
determined acceptable church music for the Orthodox churches. These
singers brought with them examples of Kievan, Greek, and Bulgarian
chant harmonized chordally in three and four voices, and these new
harmonizations were subsequently adopted by the Imperial Court.8
Attempting to imitate the cultural milieu of the European
courts, the Russian monarchs invited Italian musicians to direct
the musical activity of the Imperial Court at St. Petersburg during
the early years of the eighteenth century. This single act affected
the style of Russian sacred music for over a century. While employed
by this court, the Italian composers, among them Galuppi, Traetta,
Paisiello, Sarti, and Cimarosa, wrote as service music unaccompanied
vocal concertos. These concertos consisted of solos, duets, trios,
and choruses in the then current Italian style, all set to Slavic
texts. Because the Russian chant melodies and harmonizations from
the seventeenth century lacked the flexibility demanded by Italian
ornamentation and the capacity for modern harmonizations, the foreign
composers replaced them with new, freely composed melodies. This new
style was quickly adopted by some younger Russian composers, but the
new music did not please the Imperial Court, and in 1797, Pavel I
8. While this account agrees with most authors, Harry Elzinga disagrees,
s
a ing that the chants used by the singers from southern Kiev for
their harmonizations also included znamenny. Harry Elzinga, "The
^ h o r a l Compositions of Pavel Grigor'evich Chesnokov (1887-
(unpublished Ph.D. dissertation, Indiana University, 1970), 14.
9. Ibid. , 18-19.
161
issued an edict that forbade the further performance of these vocal
concertos in worship services.1^
Although he represented the apex of the Italian influence on
Russian composers, Dmitry Bortnyansky11 (1751-1825) was one of the
first Russians to attempt a revival of Slavic chant. He served as
a choir boy m the court chapel under the direction of Galuppi and
studied privately with the Italian master before traveling to Italy
for further training in 1769. Returning to Russia in 1779, he was
named chapelmaster of the court to Crown Prince Pavel I, and he be-
came the director of vocal music at the court chapel in 1796, a
position he held some twenty-nine years until his death.12
Bortnyansky's influence on Russian composition was paramount,
but not for musical reasons. As director of the court chapel, he was
appointed m 1816 the official musical censor of all compositions in-
tended for performance in the Church.13 Because of his position,
Bortnyansky's compositions achieved considerable attention in Russia
and subsequently were popularized in the United States. Under the
title Blessed Be Jehovah, God of Israel, his Cherubic Hyrrm No. 7 may
10. Hirt, 218-219.
11. Unfortunately, English spellings of Russian names vary considerably.

9 f r » W S S t W i' — s P e l l i n gs offered by The New Grove Dictionary
of L-IUSVC and Muszczans (London: Macmillan, 1980) were padopted u
whenever possible.
12. Hirt, 221.
13. Milos Velimirovic notes that the 1797 edict of Pavel did not deter
Bortnyansky from composing his own concertos. Milos Velimirovic
^Russian and Slavonic Church Music," The New Grove Dictionam of
L'lUsvc anct tfuszczans (London: Macmillan, 1980), XVI, 341.
162
have been the first Russian liturgical piece to enter the American
choral repertory. Elwyn Wienandt and Robert Young cite its publi-
cation in the 1866 collection The Jubilate by Luther Orlando Emerson.14
The piece was later arranged by Chaikovsky, and this arrangement first
appeared in the United States in 1915, with subsequent versions appear-
ing m the catalogues of nearly every major American choral publisher.15
In Chaikovsky's version, the Italian influences are most clearly seen
in the regularity of phrases and in the harmonizations which consist of
chord progressions typical of eighteenth-century Western music (Example

75).16
The group of composers who succeeded Bortnyansky comprise
what is known as the St. Petersburg School and includes L'vov, Tur-
chanmov, Lomakin, L'vovsky, Vinogradov, Azeyev, and Arkhangel'sky.17
Using both chant and freely composed melodies as cantus firmi, these
14. Luther Orlando Emerson, The Jubilate: A Collection of Sacred

Music for Choirs, Singing Schools, Musical Conventions, etc.
(Boston: Oliver Ditson, 1866), cited in Elwyn A. Wienandt and
Robert H. Young, The Anthem in England and America (New York-
The Free Press, 1970), 308-309.
15. Ibid., 407.
16. For this study, a copy of the 1915 arrangement published by the
John Church Company was unavailable, except for an excerpt lo-
cated in Wienandt and Young, 409. A copy of Chaikovsky's arrange-
ment published by Carl Fischer in 1948 was located and is there-
fore used as Example Seventy-five. Although the texts differ a
comparison of the excerpt located in Wienandt and Young with the
Carl Fischer publication, reveals that the musical arrangement of
voice parts is identical.
17. Arkhangel'sky was apparently the first to incorporate female voices

into the choir in the 1880's. Velimirovic, 341.
163
Example 75. Dmitry Bortnyansky, Cherubim Song No. 7 (Carl Fischer

CM 6315), measures 1-12. '
AJa0i'o(J z72)
Hear—the ho5t of_an-cjels SIHQ — — —
Hear_ the host of an-geJs sing - intj,

-4>
Heor_ the hwt of an-gel? sincj — — jmj.
the host of an-geta sing - — _ jr
Kneel-inq at the F< therx th rone!
Mng__dttlrc Fa - -1 tliTr's t U n e !
Kneel-imj at tile Fa — - tlier's throne!

rs
lUI-jng at the F a ^ ^ - ^ - ^ r r f t W * throne!

164
composers commonly wrote for four voice parts. In their chant com-
positions, Kievan and Greek subjects were preferred to those selected
from znamenny chant.^
Of these composers, one of the most influential was Alexy
L vov (1798-1870), who became the first Russian composer to counter
successfully the Italian influence on Russian church music. Although
Bortnyansky reinstated the use of Slavic chant, he so camouflaged it
with Western rhythms and harmonies that the chant was often unrecog-
nizable. L1vov used simpler harmonizations and placed the cantus
firmus, which consisted of abridged versions of earlier melodies, in
the top voice. He was also instrumental in the edition of the second
Obikhod, a volume similar to the Latin Liber Usualis. Published in
1848, this new Obikhod was scored for four voices in strict homophonic
style and its use became mandatory for all churches in Russia.^ During
his tenure at the court chapel, L'vov established guidelines for train-
ing conductors and composers of church music, permitting only graduates
from the school to conduct church choirs, and he controlled the reper-
tory by allowing liturgical choirs to perform only the music approved
by the censor.
During the final quarter of the nineteenth century, the center
of Russian liturgical composition shifted from St. Petersburg to Moscow
18. Elzinga, 28.
19. The first Obikhod was published in 1778, Velimirovic, 341.
20. Elzinga, 32.

165
and the Moscow Synodal School, where the assistant conductor of the
Synodal Choir, Alexandr Kastal'sky (1856-1926), became one of the
first to gain notice with a new approach to chant composition based
on Slavic cantus firm!. 2 1 In his sacred compositions based on chant
melodies, Kastal'sky constructed accompanying voice parts in the
same style as the chant, thereby incorporating a greater use of poly-
phony and modality than did his predecessors 22 (Example 76).
Example 76. Alexandr Kastal'sky, 0 Gladsome Light No. 1 (H. W. Gray

Somewhat animated
gloi - some Rq - - fiance, the Ko — |y Glo - ry_
0 glad-some Rq - ( W , tlie {» - |y Q 0 - ry
glad-jome Ra - - dianc^tlie lw> - l y G l o - ry
qlad-6oroe Light
For practice only
21. The following information is drawn from Robert Sterling Beckwith
<£»; s*f*i
S S f
: k u i,185^1926) and the a iiatLf " u L
III Ijn n (unpublished Ph.D. dissertation, Cornell University,
III N r * Barsova, "Kastal'sky, Alexandr Dimitriyevich,"
A06 Vônary of Music and Musicians, ed. by Stanley
Sadie (London: Macmillan, 1980), IX, 823.
i n b R p 1 v ° > h P h « 4 0 f n K a S t a l ' S ^ y ' S sacred choral works is included

in Beckwith, A. D. Kastal skii," 462-467.
166
Deviating from the earlier practices of the St. Petersburg School,
in which the chant appeared only in the uppermost voice, Kastal'sky
allowed the cantus firmus to migrate freely throughout the piece,
avoiding strict four-part harmonizations by injecting sections for
smaller vocal combinations. 23
In 1887, two years after entering the Moscow Conservatory as
a student, Kastal'sky was appointed to the Moscow Synodal Academy,
where he conducted the choir and taught music classes. In 1891, he
was named assistant conductor of the Synodal Choir, and in 1910 he
became the conductor, a position he retained until 1923 when the
Synodal Academy was renamed and merged with the Moscow Conservatory.
Subsequent to this merger, Kastal'sky was appointed to the Conservatory
as a professor whose duties included administering the choral music
program.
Following the Revolution in 1917 and the subsequent estab-
lishment of the Soviet Union, the composition of church music lost
its exalted position in Russia. However, during the two decades prior
to the Revolution, two composers, Alexandr Grechaninov and Pavel
Chesnokov, who were students respectively of the St. Petersburg and
Moscow Synodal Schools, produced a number of anthems that found their
way across the sea into the concert programs and worship repertory
of American choirs.
23 th3t the CantUS firmus lost its

' distinction
in strict chordal harmonization. Alexandr Kastal'sky "My
Musical Career and My Thoughts on Church Music," The Musical
Quarterly XI (April, 1925), 237. uBicat,
167
Alexandr Grechaninov
Alexandr Grechaninov (1864-1956) may be the most innovative
composer in the history of Russian sacred music.24 In the face of
severe criticism, he, like Kastal'sky, rejected the current trend of
eighteenth-century Italianism in Russian sacred choral composition
and chose instead to simulate old Slavonic church singing in a modal

framework.
Against his father's wishes, Grechaninov attended the Moscow
Conservatory from 1881 to 1890, and for the next three years, he
studied with Rimsky-Korsakov at the Conservatory in St. Petersburg.
During the remainder of the decade, he enjoyed successful performances
of several works and supported himself by teaching piano in St. Peters-
burg and Moscow. In 1902, he composed a liturgy, using recitation by
a soloist for the first time, and in 1917, he composed a choral Psalm-
setting which included orchestral accompaniment, thereby departing from
the Orthodox practice of unaccompanied singing. He considered his
greatest achievement in sacred music to be his Missa Oecvmenica, a
work utilizing chants from the Orthodox, Gregorian, and Hebrew litur-
gies and accompanied by organ with full orchestra.
Grechaninov's choral music received considerable notice in the
United States during his lifetime. The composer himself credited much
of the popularity of Russian choral music in America to the efforts of
L h 0 r ^ ^ O W i n g *nformat:i-on is drawn from Alexandre Gretchaninoff

My Lvje, trans, by Nicolas Slonimsky (New York: Coleman-Ross, '
1952), and Inna Barsova and Gerald Abraham, "Grechaninov, Alexandr
honovich, The New Grove Dtotionary of Music and Musicians, ed.
by Stanley Sadie (London: Macmillan, 1980), VII, 658-659.
168
two men, Theodore Becker, chorusmaster at the Russian Imperial Opera
in St. Petersburg, and Ivan Melnikov, a singer in the opera who had
encouraged Russian composers to supply literature for their newly
established choral school for amateurs.^
Undoubtedly, the American most responsible for the popularity
of Grechaninov's music outside Russia was Charles Crane. As was men-

26
tioned earlier, Crane personally financed and maintained the choir
of the Russian Orthodox Cathedral in New York City, where the works
of Grechaninov were performed as part of their repertory. Shortly
after the 1917 Revolution, Crane personally sought out Grechaninov in
Russia and invited him to establish a new home in America, an offer
the composer rejected. Crane did, however, entice Grechaninov and
his wife to travel to London and Prague for concert performances at
no personal expense in 1922.
Apparently, it was the American's luxurious hospitality during
that concert tour that influenced Grechaninov finally to leave Russia,
for in 1925 the composer and his wife moved to Paris and then Rome,
where they lived for the next four years and where he performed his
compositions for a variety of audiences. In 1929, Grechaninov came
to America to perform his music, and over the next five years, spent
about three months of each year touring the major cities of this coun-
try. He finally settled in New York and gained citizenship in 1946.
25. Gretchaninoff, My Life, 54.

169
Grechaninov's anthems include elements of both tonal and
modal harmonizations. In those anthems published in America during
the early years of this century, formal design consists mostly of a
series of unrelated sections.27 Each section centers around a defi-
nite key area, which, while often functionally unrelated to neighbor-
ing sections, is closely related to the home key or mode of the piece.
An example is the anthem Only Begotten Son,28 whose text is loosely
based on the Hymn of Justinian. The piece consists of four sections
all closely related to the key of C major, with separate areas in g
mixolydian, C major-aeolian, F major and d minor. Tonal centers for
each section are established with pedal points, around which the chords
vacillate back and forth, for the most part, in non-functional pro-
gressions (Example 77). In the anthem A Song of Joy,29 a modal flavor
is established by avoiding accidentals, often using the minor form of
the dominant, and omitting the third of some chords (Example 78). Ven-
tures into bi-tonality (Example 79) and vague suggestions of impression-
ism (Example 80) are found in a version of The Lord's Prayer,30 which
according to its editor-arranger, Noble Cain, was the only edition
approved by the composer. Grechaninov's music typically includes thick
27. A bibliography of Grechaninov's compositions including a listing of

anthems is included in Gretchaninoff, My Life, 175-204.
30. Raymond H. Hoffman, 1930, no. 22.

170
Example 77. Alexandr Grechaninov, Only Begotten Son (J. Fischer

and Bro., no. 4100), measures 1-9.
Alleqro moderato
mf1 J i I
f Spir — it.
Alleqro moderato
ev-er and to a-ges; A*

171
Example 78. Alexandr Grechaninov, A Song of Joy (J. Fischer and

Bro., no. 6690), measures 1-9.
Moderato e molto maest&so
Oh, be joy-ful, W joy-ful in the Lord, all ye land?.
Moderate c molto maestoso
to His name
~ to Wis name
PI*jyrighthand an odave lower

172
Example 79. Alexandr Grechaninov, The Lord's Prayer (Raymond H.

Hoffman, no. 22), measures 1-4.
Tenor Solo Comodo d = 66

™f 1 L
fa. — tlicr, Thou wJjo a r t in heav-en o — ver all
(Or hum \he parte ad Kb.)
Example 80, Alexandr Grechaninov, The Lord's Prayer (Raymond H.

Hoffman, no. 22), measures 23-26.
For we now for-give all wlio fres-pas* a - gainst uS)
our en - e - mies-
173
chordal textures, frequent eight-part voicing, and melodies that
are primarily conjunct and constructed in a centonized fashion, as
can be seen in Example eighty-one, which illustrates a five-note
motive and its inversion found in several anthems (Example 81).
Example 81. Alexandr Grechaninov, Vouchsafe 0 Lord (Galaxy, no. 1356)

meaS mel dy
Son? ° ?? ly ' a n d A S o n g 0 f J ° y ( J ' Fischer and Bro.,'
no. 6690), measure 14, melody in inversion.
stet-utey, 0
Pavel Chesnokov
Pavel Chesnokov (1877-1944) composed choral music almost ex-
clusively, with much of his output intended for the services of the
Russian Orthodox Church.31 He attended the Moscow Synodal School from
1885 to 1895, and upon graduation, remained at the school as a teacher
of choral singing until 1920. In 1913, Chesnokov enrolled at the Moscow
Conservatory to study composition. He completed his study in 1917, and
three years later, he was hired by the Conservatory to teach choral con-
ducting, where he remained some twenty-four years until his death. After
3i. The following information is drawn from Elzinga, 55-58, and I. M.

Yampol sky, Chesnokov, Pavel Grigor'yevich," The New Grove Dic-
tvcmavy of Music and Musicians, ed. by Stanley Sadie (London:
Macmillan, 1980), IV, 214.
174
1917, he was also appointed conductor of several choirs including the
Moscow State Choir, the Moscow Academic Choir, and the choir of the
Bolfshoi Theater,
According to Elzinga, the majority of Chesnokov's sacred works,
of which there are approximately 325, employ liturgical texts. Of
those pieces, the melodies of some one-third are based on znamenny,
Kievan, Greek, Bulgarian, or other unidentified chants.32 Both chant
and free compositions utilize large choral forces of commonly six to
eight voices, with as many as four bass parts found at cadences.33
Chesnokov's Salvation Is Created,34 drawn from the Kievan li-
turgy, is a famous example of his compositions in which the melody is
based on chant. This piece, like many other Russian works, was arranged
for varying vocal combinations and texts by numerous American editors.35
Unlike Kastal'sky and Grechaninov, who were often criticized for dis-
guising the cantus firmus beyond recognition, Chesnokov seldom hid the
chant melodies. Instead, the chant may be found in any voice including
32. Elzinga, 99 and 124.
33. For a listing of many of Chesnokov's compositions, consult Elzinga.
35
* 1939, for example, the same piece was arranged for SATTBB by
Noble Cain using the text Nou Sing We Thy Praise and published by
e win. Nineteen years later, Cain's musical arrangement and text
were rescored for SATB choir by Richard Carlyle and published by the
Plymouth Music Company.
36
' 99-221 11231 " 10 " 3 C
°nCerning ches
nokov's music are drawn from Elzinga,
175
the bass, and it often migrates through different voices, as in the
works of Kastal'sky. Chesnokov characteristically doubles the chant
at the octave with the soprano-tenor combination found most often
(Example 82) , The text usually coincides in all voices, even when the
Example 82. Pavel Chesnokov, Salvation Is Created (J. Fischer and

Bro., no. 4129), measures 1-21.
Quietly (J)
Quietly U)
ted, sal —
j
176
voices are rhythmically independent. Although the formal design of
this anthem could be considered binary (AA'), throughcomposed formal
schemes are most common in his chant compositions, and as seen in Example
Eighty - two, asymmetrical phrases are created by omitting meter signs.
Chesnokov's chant and free compositions are solidly tonal, utilizing
triads and their inversions, major—minor sevenths (which function as
both dominant and secondary dominant seventh chords), and minor-minor
sevenths. Any harmonic shift away from the tonal center is usually a
third away from the tonic, as is found in measure five of Salvation
Is Created, where the tonality shifts from b minor to D major using
a common chord modulation (Example 82), Although not evident in this
example, pedal points and occasional shifts to modality are often seen.
37
Let Thy rfoly Presence is an example of a free composition,
37. C. C. Birchard, 1940, no. 12.

177
that, like Salvation Is Created, has also been arranged by a number of
editors for various vocal combinations and texts. 38 This arrangement
by editor Noble Cain is scored for SSATTBB, which is the typical voicing
of more than half of Chesnokov's entire repertory.39 In this com-
poser's free compositions, the melody is usually found in the soprano
voice and is often doubled by either the alto or tenor voices. Binary
and ternary forms are common, as is evidenced in the ternary formal con-
struction of this anthem. The outer sections of Let Thy Holy Presence
feature a dialogue between men's and women's sections, a device noted
m many Russian works, and the middle section illustrates another fea-
ture of Chesnokov's free compositions—that of contrapuntal writing.
Examples of both imitation and sequence are also evident in the middle
section (Example 83). The harmonic constructions of the free composi-
tions parallel those of the chant compositions, and although meter
signatures are included, shifts in meters accomodate irregular phrasing.
Noble Cain
As the popularity of choral music from Russia increased in
the United States, the stylistic features of the genre were imitated
38. In 1948, for example, the same anthem, set to a new text entitled
Come Thou Holy Spirit, was arranged for eight voices by Peter
i-v,aCR a n p u J 1 S by Nei1 A
- Kjos. Seven years later, in 1955,
the Boosey and Hawkes Publishing House issued a new version arrayed
Lei S M ? ^ W a U " EhreC' "hiCh set
earlier text!
Let Thy Holy Presence, and in 1958, the anthem, under the title May
mibl ' w *s arranged for SATB chorus by Peter Lindsay and
published by Plymouth Music.
39. Elzinga, 229.

178
Example 83 Pavel Chesnokov, Let Thy Holy Presence (C. C. Birchard

5
niiutlicallu)
Tj^Jjo^ly prcs - ence, TKyHo-ly Pres
H
'V ° V fres - oice,Tiy Ho ly Fnea - ence,Tliy Ho-It Pre* ence.
0_Lord!_
come upon _ us.

0 Lord!
come up on__ ust comcup-on_ us, 0 Lord!

179
by American composers in their original works. Although the anthems
of such as Clarence Dickinson, Carl F. Mueller, and Van Denman Thompson
occasionally reflect a Russian technique, it is likely that no other
composer adopted the Russian features more thoroughly or more fre-
quently than did Noble Cain. In addition to copying the Russian style,
Cain also edited numerous Russian pieces and even studied composition
with Alexandr Grechaninov in 1930.^°
Of Cain's anthems published during the 1930's that reflect
Russian features, one of the best-known is In the Eight, Christ Came
Walking, the text of which is a narrative account of Christ's walk
on the water as found in the fourteenth chapter of St. Matthew. The
piece is scored for an eight-part, unaccompanied ensemble and includes
choral dialogues between men and women, sudden dynamic contrasts and
frequent temporary shifts to the submediant key, all characteristics of
the Russian style (Example 84). Apparently Cain was attempting to imi-
tate the modal flavor of the Russian pieces by restricting the number
of chords used and by avoiding modulations in this anthem. Unfortu-
nately, he failed to omit such earmarks of tonal structures as the third
degree of the triad and the leading tone, thereby making his chord
progressions sound solidly tonal, and because of the static motion,
rather uninteresting. In 1939, Cain published the anthem Holy Lord
40. "Cain, (Dr.) Noble," The International Who Is Who in Music, 5th ed.
ed. by Dr. J. T. H. Mize (Chicago: Who Is Who in Music, Inc
L.T.D. , 1951) , 98.
41. G. Schirmer, 1936, no. 7967.

180
Example 84. Noble Cain, In the Night, Christ Came Walkinq (G.
Schirmer, no. 7967), measures 7—11.
niqlit.— sea..
ontJiese in Aenigk, OinilzsrneîAjnajn^ niqlit,
niqlit. ontkesea, in the nujk, Christ erne vsgjlnnq, jn tlie nigk,
tii^kCUtaagyJling, on i W a , mtknigk, iiXjiiql^
1 A
^ -^Kjslcane™&'"y.on&esea^ in fhe n i g k ^ in t k night,
42
God. In the opening measures, this piece features the typical
Russian characteristics of multiple unaccompanied voice-parts, choral
dialogues between women's and men's sections, the use of triplet fig-
ures, and the harmonic progression tonic to submediant43 (Example 85).
Many of these imitations may be perceived as inferior when
compared to the original examples, yet the volume that was written and
published thoughout the first half of this century undeniably testifies
43
' «A99n!SO Sir9n Unt° fhe Lord a New Son3 < H a r o l d Flammer, 1944, no.
84220), and Our Father Who Art in Heaven (Harold Flammer 1944
15 f r f U r t h e r illustr
1940 ° ations of Cain's music from the
181
Example 85. Noble Cain, Holy Lord God (Harold Flammer, no. 84157)
measures 1-4.
(a=u>)
Ho — _ - |
(J-bO)
to their appeal with American audiences. Both new editions of Russian
choral music and new original imitations of the style appear even to-
day, further confirming the impact of this genre on American church
music.
Chapter VI
THE NEGRO SPIRITUAL
The Negro spiritual has grown from a simplistic folk idiom
into a true art form despite the contempt of slave owners, textual
and melodic alterations caused by oral transmission, periodic pres-
sure from Puritan reformers to omit them from Negro worship, and
inferior imitations at the hands of some modern choral arrangers.^
Also known by the names "jubilee," "minstrel," "religious song,"
slave song," and "folksong," spirituals cover a wide variety of re-
ligious and secular subjects. Some singers, in order to distinguish
between them, called the pieces dealing with religious subjects by
the name "anthem." These pieces, often born of the spontaneous fer-
vor of the camp meetings, are inherently both improvisatory and choral,
Besides providing a repertory of religious songs, spirituals have
served for centuries as a means of documenting both the faith of the
Negro and the conditions under which he lived.3
During the final decades of the nineteenth century, touring
groups of Negro singers discovered quite by accident that they could
1. Alain Locke, The Negro and His Music (Port Washington, New York:
Kennikat Press, 1968), 18.
2. Harold Courlander, Negro Folk Music, U.S.A. (New York: Columbia

University Press, 1963), 36.
3. Miles Mark Fisher, Negro Slave Songs in the United States (Ithaca,
New York: Cornell University Press, 1953), 185.
182
183
better please their concert audiences by using simple choral versions
of the old slave songs instead of the choral art songs that made up
their repertories. Mainly through the arrangements of Harry T. Bur-
leigh,4 these simple folksongs were first introduced to more sophis-
ticated twentieth-century concert audiences as solo songs with piano
accompaniment. Then, as interest in the new folk art grew, other Negro
composers began to publish new arrangements of the old folksongs for
choral ensemble. With the growth of the a cappella movemfent during
the 1930's and 1940's, these new arrangements, with their spirited
rhythms and clever imitations of the Negro dialect, were welcomed by
choirs and audiences accustomed to the often sombre standard literature.
As the demand for new choral arrangements increased, Caucasian composers
also joined the parade and produced parodies in which they exaggerated
the characteristic features of the spirituals to new extremes. By
1950, the Negro spiritual was commonplace in the repertories of both
amateur and professional choral ensembles.
The earliest examples of Negro folksongs in America date to
1619, when the first slaves were imported from Africa. Because they
were given little time for recreational activities or music-making,
the slaves provided their own recreation by producing music as they
worked. Their earliest repertory of songs likely consisted of sec-
ular folksongs, for the religious pieces resulted from the introduction
of the slaves to Christianity by their white masters and itinerant
4. For a discussion of Harry T. Burleigh and his music, see pages

190-195 in this chapter.
184
missionaries from the North.5 By 1750, it was common to see the slaves
gathered in the evenings to sing the new Psalms and hymns being taught
6
them as part of their instruction.
The authorities disagree about the origin of this genre. Some
believe that the Negro songs are the sole creation of the slaves, no-
ting specifically their similarities to African music.7 Yet others

g
believe the spirituals to be Africanized versions of English ballads,
while still a third group views the slave songs as a Negro imitation of
the Southern "white spirituals," a body of hymns used in the more or-
ganized religious meetings of the South. These are represented by
several early nineteenth-century collections, especially those that

9
used the four-shaped notation.
The origin of this genre may remain uncertain, but we do know
that the Biblical stories being relayed to these new Christians by
the missionaries provided ideal material for new songs. Because most
African people held a concept of a supreme, but remote deity, they more
easily communicated with lesser supernatural beings, many of whom were
5. Arthur Lee Evans, "The Development of the Negro Spiritual as Choral

Art Music by Afro—American Composers with an Annotated Guide to the
Performance of Selected Spirituals" (unpublished Ph.D. dissertation,
University of Miami, 1972), 35.
6. William Tallmadge, "Afro-American Music," The Music Educators Jour-

nal XLIV (September-October, 1957), 37.
7. See for example, John Wesley Work, Folk Song of the American tlegro
(New York: Negro University Press, 1915), 8.
8. See for example, Tallmadge, 37.
9. See for example, Newman I. White, American Negro Folk-Songs (Cam-

bridge, Massachusetts: Harvard University Press, 1928), 50.
185
associated with epic histories. As part of their religious rites,
the Africans typically recounted the dramatic actions and special
powers of these lesser beings.10 The Bible stories were ideal be-
cause they provided new material that could be easily adapted to this
sort of dramatic or epic treatment. The slaves preferred biblical
stories that focused on specific events and were particularly in-
terested in the rescue of Daniel from the lion's den, the deliver-
ance of the poor, and the humble birth and the resurrection of Jesus
Christ.11 John W. Work believes that if the Bible had been lost, it
could have been reconstructed in the mind of the Negro through these
12
accounts that became the texts of the songs.
The language of the spirituals was drawn largely from the
Scriptures and from the hymns introduced to the slaves by their doc-
trinal teachers; however, certain words carried special meaning for
the Negro and were therefore used frequently. For example, King
Jesus" specifically referred to Jesus Christ, as did the appellation
"God." "Heaven" was the eternal resting place for the faithful, "hell
was the eternal home of the thief and the sinner, and "religion" was
1Q
a panacea for all evils and all sins. The Negro sang about "sin"
10. Courlander, 38.
11. Evans, 39.
12. Work, Folk Song, 36.
13. Howard W. Odum and Guy B. Johnson, The Negro and His Sang: A
Study of Typical Negro Songs in the South (Chapel Hill, North
Carolina: The University of North Carolina Press, 1925), 42-58.
186
in one of three contexts: he sang songs rejoicing in his victory
over it, songs lamenting his present entrapment by it, or warnings
of woe to the "sinner man."^ References to "heaven, the gospel
train," "gospel shoes," and even "death" all appear to be symbols of
spiritual release from the physical body; however, some authors be-
lieve that a secondary meaning exists, referring to the physical
escapement from slavery. For example, in addition to expressing the
longing of the Negro's soul for the eternal resting place, the spiri-
tual Steal Away to Jesus may also have reflected a secret longing to
steal away to the North and to freedom. Similarly, the "gospel train,"
which the Negro believed was a modern version of Elijah's chariot that
would take the faithful home to heaven, may also have referred to the
"underground railway," just as "Moses" in the song Go Down Moses may
have referred to the train's "conductor," Harriet Tubman.15 One can,
of course, become overzealous in a search for these double meanings,
but it does seem probable that the theory is often correct.
The melodies of many African folksongs are set in a minor mode
based on a pentatonic scale. They lend themselves to harmonizations
using mostly chords of the tonic, subdominant, and dominant, each of
which may be ornamented with non-harmonic tones. Although each melody
has its own particular features, they all fit generally into one of
three categories: the call and response, the slow, sustained, long-
14. Ibid., 60.
15. Courlander, 39-42.

187
16
phrase melody, or the syncopated, segmented melody. Spirituals
such as Swing Low Sweet Chariot or Listen to the Lambs as well as
many of the early songs resulting from a soloistic improvisation
followed by a congregational response fit into the first and largest
category, while such famous examples as Were You There When They
Crucified My Lord? and Deep River fit the second category, in which
slow, sustained phrases predominate. The third group features melo-
dies characterized chiefly by syncopation and rhythmic complexity and
includes such songs as Little David Play on Your Harp and 0 By and By.
Of all the features associated with spirituals, one of the
most important is the use of rhythm. According to Arthur Lee Evans,
rhythm is paramount in these pieces because the drum was the primary
instrument of the African.17 The plantation owners did not permit the
slaves to use instruments to accompany their songs; therefore, the
Africans interpolated the rhythm that would have been produced by the
instruments into the song itself by, for example, shifting the main
accent of the measure to the off-beat, or by inserting the neutral

18
syllable "a" between the words of the text. Regarding the latter
technique, Work notes that many speech elisions, once thought to be
the result of illiteracy, were instead purposeful alterations included

19
to create stronger rhythmical patterns, and Evans points out that
16. John W. Work, "The Negro Spiritual," The Papers of the Hymn Society
XXIV (September, 1961), 24.
17. Evans, 32.
18. Ibid., and Work, Folk Song, 39.
19. Work, "Negro Spiritual," 23.

188
because certain English sounds displeased the Negro, they were either
j 20
dropped from his vocabulary or replaced with a more pleasing sound.
Spirituals were introduced into the American choral scene by
the collegiate choirs of southern Negro institutions. These choirs
presented "authentic" performances utilizing harmonized singing, the
Negro dialect, and the display of deeply felt emotion created by sway-
ing the body slightly to mark regular beats, thus emphasizing the
2 1
• •
rhythm of the piece above other musical characteristics.
Of the numerous Negro choral ensembles that performed spirituals
during the last quarter of the nineteenth century, the Fisk Jubilee
22
Singers were among the most famous. Established by the American
Missionary Association of the Congregational Church in 1866, the Fisk
School in Nashville, Tennessee, was on the brink of bankruptcy barely
five years after its founding. In a desperate attempt to raise the
funds needed to continue operations, the school treasurer, George L.
White, organized a small ensemble of nine Negro students with the in-
tention of concertizing throughout the northern states. The ensemble
began their first tour in October, 1871, but the initial reception of
the group was so poor that dissolution seemed imminent. Early in their
20. Evans, 55-56.
21. James Weldon Johnson and Rosamond Johnson, The Books of American
Negro Spirituals (New York: Viking Press, 1969), 28.
22. The following material is drawn from Langston Hughes, Famous Negro
Musio Makers (New York: Dodd, Mead and Co., 1955), 17-26; Maud
Cuney-Hare, Negro Musicians and Their Musio (Washington, D.C.:
Associated Publishers, 1936), 56; Fisher, 190; Locke, 19; and Work,
Folk Song, 105-108.
189
tour, the singers stopped in Oberlin, Ohio, hoping for a chance to
sing at a meeting of the National Council of Congregational Churches.
They were denied a place on the agenda, but during an unexpected delay
in the proceedings, the choir softly intoned the spiritual Steal Away
from the back of the room, where they had been sitting quietly for
some time. Their music quickly caught the attention of the council
23
members, who urged the choir to delay their tour and remain in Oberlin.
Henry Ward Beecher, pastor of the Plymouth Congregational Church
in Brooklyn, was present at the Oberlin meeting and invited the choir
to come to his church and present a Sunday evening program. For this
concert, the choir assumed the name the "Fisk Jubilee Singers. In
the pre-concert publicity, the local newspapers had referred to the

24
nameless organization as the "Nigger Minstrels." White, in order to
retain the dignity of the group, chose the name "Fisk Jubilee Singers,"
after the spiritual The Day of Jubilee, in which is recounted the story
25
of Moses delivering the Hebrew children from Egypt. The concert at
the Brooklyn church was enthusiastically received by the audience, and
in addition to favorable reviews, a sizeable amount of money was donated
to the school. Leaving New York, the group continued their tour through
the New England states, which included a concert at the White House. By
the time they returned to Tennessee, the Fisk Jubilee Singers had re-
26
portedly raised some twenty thousand dollars for the school treasury.
23. Hughes, 17-19.
24. Work, Folk Song, 106.
25. Hughes, 22.
26. Ibid., 23.

190
The group was active until 1932, during which time they toured Europe,
presenting much of the Western world with its first concert version
27
of the Negro spiritual.
Since these first concerts of the Fisk Jubilee Singers, a
wealth of new "spirituals" have been performed by numerous Negro and
white choral groups. Unfortunately, some of these pieces have been
composed by unskilled musicians, and the result, in many instances,
is a concert spiritual that often little resembles the original. At
the same time, other, more skillful composers have brought the spiritual
from a folksong to a veritable art form. Three of the most influential
composers during the first half of this century were Harry T. Burleigh,
28
R. Nathaniel Dett, and William L. Dawson.
Harry T. Burleigh
Harry T. Burleigh (1866-1949) is universally recognized as the

composer most responsible for establishing the Negro folksong as an art
29
form in the United States. Although choral versions of spirituals
27. Cuney-Hare, 56.
28. The works of other composers such as John W. Work, Jr., William
Henry Smith, Hall Johnson, and Jester Hairston were examined, but
were omitted from this study because their compositional styles
closely paralleled one or more of the three chosen, or because
their greatest influence fell outside the time frame of this study.
29. The following biographical information is drawn from Maud Cuney-

Hare, Negro Musicians and Their Music (Washington, D.C.: The
Associated Publishers, 1936), 323-329; John Lovell, Jr., Black
Song: The Forge and the Flame. The Story of Hew the Afro-Ameri-
can Spiritual Was Hammered Out (New York: Hacmillan, 1972), 442-
443; Nicolas Slonimsky, "Burleigh, Henry Thacker," Baker's Bio-
graphical Dictionary of Musicians, sixth ed. (New York: Schirmer
Books, 1978), 256; and Eileen Southern, "Burleigh, Henry Thacker,"
The New Grove Dictionary of Music and Musicians, ed. by Stanley
Sadie (London: Macmillan, 1980), III, 471-472.
191
had already been introduced by such groups as the Fisk Jubilee Singers,
it was Burleigh who first brought this genre to the attention of more
sophisticated audiences by arranging simple folksongs for solo voice
with piano accompaniment. From these solo arrangements, which were
intended for the concert stage, he drew the material for his choral
versions.
Born in Erie, Pennsylvania, Burleigh grew up under the influence
of his grandfather, a former slave who personally taught his grandson

30
many of the old plantation songs. As a young man, Burleigh worked
as a stenographer, all the while singing in the several churches and
synagogues of Erie. In 1892, at age twenty-six, he won a scholarship
to study at the National Conservatory of Music in New York City, where
during his second year, Antonin Dvorak became director and subsequently
Burleigh's mentor. According to Eileen Southern, Burleigh sang spiri-
tuals for Dvorak on many occasions, and it was these performances that
inspired the latter to include examples of Negro folksongs in his Amer-
ican works.
In 1894, Burleigh accepted the position of church soloist at
St. George's Episcopal Church in New York City, a position he retained

32
for the next fifty-two years. Six years later, in 1900, he also as-
sumed a similar position at New York's Temple Emanu-El. Following a
30. Lovell, 442.
31. Southern, "Burleigh," 472.
32. John Lovell states that Burleigh came to St. George's in 1903; how-
ever, all other sources examined agree on the date 1894. Lovell,
443.
192
short term as a voice instructor at the National Conservatory, Burleigh
expanded his activities as a soloist and gave numerous concerts before

. . 33
shifting his attention to composition.
Burleigh's first examples of serious vocal music, a group of
art songs for solo voice and piano, were composed during the last years
of the nineteenth century. According to Lovell, he transcribed his
first spirituals in 1901, arranging them for solo voice, quartet, or

Q /
chorus. In 1911, the G. Ricordi Publishing Company hired him as a
music editor; this subsequently led to the publication of many of his

35
more than 200 compositions.
Of all the pieces examined for this chapter, the choral arrange-
ments by Burleigh are among the most sonorous and lyrical. Mostly
written for unaccompanied voices, Burleigh's arrangements consist of
homophonic choral settings enriched by the occasional division of the
voice parts. Diatonic harmonies prevail, and the rhythm, which domi-
nates the arrangements of most other composers, is here understated.

36
His most famous piece Deep River is a typical example. The penta-
tonic melody is given to the alto voice and accompanied with a four-
part men's ensemble. All voices generally sing in their mid to low
registers, creating a sense of warmth throughout most of the piece
33. The dates of his retirement from Temple Emanu-El and his retire-
ment from the concert stage are not available.
34. Lovell, 443.
35. A bibliography of Burleigh's compositions was unavailable.
36. G. Schirmer, 1913, no. 5815.

193
(Example 86) , Emphasis is given to the subtle rhythmic off-beat accents
of the melody by scoring half-note chords in the accompanying parts,
and the occasional use of a secondary dominant chord tastefully en-
riches the simple, diatonic harmonizations (see Example 86),
Example 86. Harry T. Burleigh, Beep River (G. Schirmer, no. 5815),
measures 1-8.
Lento
]to sosteiuito
riv er, my home is o - ver Jor- dan,
Deep, deep riv — er home o - ver Jor — dan.
home o - ver Jor — dan,
sostenwlo ^ 1 PJ-J frcia
\j}
Deep __river, Lord, I wanttocrow o ver in to camp-ground.

0
V—-—i— i i '
1 er, want to cross o ver in to camp-ground.
- $
Deep, deep riv - j - - _N Jfr i i===i,

Deep, deep ~~ I
riv - er. wanttocrosfo verin to cainp-cjrouncL
^ -J - b u p : r*-^
—
î ^
P P~ r •—s i » » ^
194
Exceptions to this typical style of Burleigh are noteworthy.

37
In 1921, Ricordi published Burleigh's Didn't My Lord Deliver Daniel?
which is written for a four-voice ensemble with piano accompaniment.
Here, the rhythm is the dominant musical feature. Its choral settings
include either homophonic sections, rhythmic solos with humming vocal
accompaniments, or rhythmic solos accompanied by voice parts in which
both the rhythm and the text are contrapuntally syncopated (Example 87),
Although the harmonies typical of Burleigh's spirituals rarely
venture beyond their diatonic framework, a few interesting variants do

38
occur. For example, the anthem Steal Away, begins with a simple
Example 87, Harry T. Burleigh, Didn't My Lord Deliver Daniel? (G.

Ricordi, no. 1774), measures 21-28.
i y ' 1
m
D i d - n ' t mv- Lord d e - liv — er Dan - iel.
Melody M - n't my_ Lord de - liv — er Dan - iel,

• . i t
Did n't my Lord de-liv er Dan - iel,dliver Dan - iel,d1i*er Dan - iel, Didn't
D i d - n ' t my Lord de - l i v e r Dan-iel, An'
KJ * *
0
*- *
'i—; - **
37. G. Ricordi, 1921, no. 1774.
38. G. Ricordi, 1924, no. 422.

195
Dan - iel, An wWnot a ev-e-ry man?

-c'tX, — i -
Y ' '
my Lord de liv er Don - iel, _ An whjr noV-a ev- e-ry man
a ev-e-ry
diatonic harmonization that gradually increases in dramatic intensity
by shifting to chromaticism. The harmonies produced by this chromatic
motion include a variety of altered chords. Example Eighty-eight illus-
trates the point. This excerpt, in the key of b minor, contains several
diminished triads and sevenths, plus a major submediant, and an aug-
mented sixth chord (Example 88).
R. Nathaniel Dett
A Canadian by birth, R. Nathaniel Dett (1882-1943) received his

39
musical training in the United States. In 1903, he graduated from
39. The following biographical material is drawn from Maud Cuney-Hare,

Negro Musicians and Their Musio (Washington, D.C.: The Associated
Publishers, 1936), 336-339; John Lovell, Jr., Black Song: The
Forge and the Flame. The Story of How the Afro-American Spiritual
Was Hammered Out (New York: Macmillan, 1972), 446-447; Waldo Seldon
Pratt and Charles N. Boyd, "Dett, Robert Nathaniel," Grove's Dic-
tionary of Music and Musicians: American Supplement (New York:
Macmillan, 1937), VI, 188; and Eileen Southern, "Dett, Robert Na-
thaniel," The New Grove Dictionary of Music and Musicians, ed. by
Stanley Sadie (London: Macmillan, 1980), V, 404-405.
196
Example 88, Harry T. Burleigh, Steal Away (G. Ricordi, no. 422),
measures 35-39.
cvesc.
Rx>r sinner standi atranUiiuj; TLe trum pet ^Dun^jwitkin a myôul
Poor sinner
1
stands trem - blinq-.The trum pet 5ounds wrikin my soul.
~ ^ I f - moteo ff -
R>or 5in f ^ ^ ^ | l 5 a - t r e m - TWtrum A
din ner viands a - trem - Uing;The trumpet sounds- in
the Niagra Falls Collegiate Institute. After a brief attendance at
the Halsted Conservatory in Lockport, New York, he matriculated at
Oberlin College, where in 1908, he received the first bachelor of

40
music degree in composition granted by that institution to a Negro
He was later lauded with honorary degrees by the Eastman School of
Music, by Howard University, and finally by Oberlin in 1926.
Upon leaving Oberlin in 1908, Dett taught for three years at
Lane College, Jackson, Tennessee, and then after two years at the
Lincoln Institute, Jefferson City, Missouri, he was hired as the di-
rector of music at the Hampton Institute, Hampton, Virginia. He held

41
this position from 1913 to 1931. During his tenure at Hampton, Dett
40. Cuney-Hare, 336.
41. In 1929, while at Hampton, Dett traveled to Paris to study compo-

sition with the famous Nadia Boulanger.
197
directed the chorus, an ensemble of 400 voices that received critical
acclaim in the United States and abroad. He was also active as a
concert pianist, with concerts in various major cities in the United
States.
Dett's compositions include three works for chorus and orches-
tra, which are based on traditional Negro folksongs, five suites for
42
piano, and two collections of choral arrangements of spirituals. His
works are unique and often display unpredictable stylistic features.
They are, for the most part, composed within a diatonic framework, but
occasionally display bolder harmonic statements made up of short, quickly
moving, chromatic passages. The Negro dialect and the pentatonic scale,
both earmarks of the spiritual style, are used infrequently in these
pieces. Moreover, they reflect a dramatic intensity that results from
careful indications in the score of the proper tempo and dynamic nuance,
and from the use of subtle text painting. Tasteful harmonic sequences
and unexpected codas give evidence of Dett's skill as a composer.

43
A good example of Dett's style is found in Listen to the Lambs,
a work made famous by the repeated performances of the Westminster
Choir. The piece is descriptively subtitled "a religious character-
istic in the form of an anthem." Written for a cappella choir, it is
constructed in a tripartite form, and while the melody of the outer
sections is derived from a traditional spiritual, the melody of the
42. A bibliography of Dett's compositions is included in Southern,

"Dett," 405, and in Pratt and Boyd, 188.
43. G. Schirmer, 1914, no. 8010.

198
middle section is original.^ Interestingly, the basis of the melody
derived from the pre-existing folksong is that of a minor scale, while
the basis of the original melody is the typical pentatonic variety.
Homophonic choral sections are constructed as either dialogues between
various combinations of voice parts or as passages for solo voice ac-
companied by a humming ensemble. At the conclusion of the middle sec-
tion, a descending harmonic sequence is combined with a choral ostinato
on the text "in his bosom" to reassure the listener that the Lord will
care for His flock (Example 89). The doleful cry of the lambs is
skillfully depicted in the coda before the voices intone a solemn amen
in unison (Example 90).
Example 89. R. Nathaniel Dett, Listen to the Lambs (G. Schirmer, no.
8010), measures 60-74.
Soprano Solo
in- hus Ixxs- in nis

andar-ry th& yourwj lamks.
i | , s r f ? ? ~ h" r r r f bo
and car-ry the y«g lantr . u Ls U-s™. in his
ff
44. Work, Negro Spiritual," 25.
199
rr
a*
bo-Som. in his bo-som. in his bo-som, in ks (>o-som,llie young lambs.
V —• l—-"(y P O . I r^tO 0.
"bo-som. m Itis" bo-som, in his bo-som. m his bo-som; |
- - — som _ A
N r f f r r - - r r r f r°r
r_r__^r r i*~r
^ • i- t r"9. i. . lank
lio-som. in his bd<o- som. in hi5 bo-som, m his bo-son\-
r r - » r r rr - - rr rr - - r r i f
Example 90. R. Nathaniel Dett, Listen to the Lambs (G. Schirmer, no.
8010), measures 87-100.
/0(JT <t 0 , .* O ;
}
\j " "
all a — __ cry - -
> / —
9,ff
vj, ^ ~ r —
all a - cry - -
^ —
9 l fr —-
all a - cr — —
XL r * ;
—
m m , # » . , ^ , ..
i
^ all • a - cry — —
0 o< •"» o J,
;
"^g _ |
\V\ Ai i "! I | |
& e -*- — * -
r- a
^ ; i ^ ^ ^
200
men
men.
45
In 1933, Dett published WasnTt That a Mighty Day?, ail un-
accompanied spiritual for five voices. Scored for three-part men's
ensemble, the opening chorus illustrates how subtle chromatic alter-
ations create unpredictability in Dett's harmonic progressions (Example
91). The point is further confirmed by the following solo alto section
whose accompaniment slips midway into a series of diminished seventh
chords (Example 92) • Dett's penchant for the unexpected is further
displayed at the conclusion of this piece, in which the basses sing a
rhapsodic, quasi-recitative that is accompanied by sustained chords in
the other voice parts (Example 93) • Surprise conclusions characterize
many of Dett's spirituals, and they range from the "blues" effect of
45. G. Schirmer, 1933, no. 7712.

201
Example 91. R. Nathaniel Dett, Wasn't That a Mighty Bay? (G. Schirmer,
Andantereliqi'osoed espressivo
i.yfi A 7T^ i
w t}* r
*
What miglit-y, What: a mkjlit - y, What a mijjht-y
yjS \
§ H 1 /V
SM W a s n't that atniqk-y d a y , Was^'tthata^miglit-y day.
What mighty, Wlufc a mialit - y day,
Andante rgligioso gd espressivo
day, a might-y. tniqhty day, When Je - 5U5 Christ _waj

I I 1 ll -y. ^ IT
» - i r * i
Was n't that a might y day When Je-su5 Christ a- was hornlCSo low ly 0
rotght- y, r^lit^ day, When Jg- w C^-»'st vjts hornl
this piece, to the quasi-liturgical effect created by the threefold
choral amen at the conclusion of the anthem I'll Never Turn Baok No
M ^
More.

202
Example 92. R. Nathaniel Dett, Wasn't That a. Mighty Bay? (G. Schirmer,
no. 7712), measures 17-24.
ALTO
5olo (aA. lib.)
rnf, a tempo, ma. con molo e marcato
God sent Je- sus into tKb worH to come as a lit tle child;
a. teyrtpo, yna can mafco
"TeooC
God sent Je -sus in - to tliis world as a lit- tie diskl; He come from W e n down and
;mf CL frrrnpOs+ma£gn ^ * 0 '
God sent Je ,5115 in - to tliis world as a lit-tie cL'ldflkcon«?roml>cav Pn<Lwnand
mf a tempo, m^con^mo
i
In a,man qer tliey laid Hint W AndHw motker wastouimeek and mild.
_r UhMou ~1 ' -
In a man qer was laid low. And His metier was tctli meek and mild.
~-nan Iraoloy — . __——-—
In a man ner was laid low,. And His m o i W was lx>di meek, and «ild(0 bowlowl)
203
Example 93. R. Nathaniel Dett, Wasn't That a Mighty day? (G. Schirmer,
no. 7712), measures 58-61.
born?
7 born? __
vidoeamiexsoteL j
bom of Ma-rv a vlr gin; and be cause tbere was_ no roomin_ tlie
n i ^
ff
sempre
fottc
\ j inn, slie wrapped Him in awad-dlirx) clotWarel laid Htm in a man - cjer!
204
William L. Dawson
William L. Dawson (1899- ) began his musical training at
age thirteen, when he left his Alabama home to enter the Tuskegee In-
stitute.47 Graduating in 1921, he pursued further training, first at
the Washington College, Topeka, Kansas, and then at the Homer Institute
of Fine Arts, Kansas City, Missouri, where he received a bachelor's de-
gree in music in 1925. Two years later, in 1927, he received a master's
degree in music from the American Conservatory of Music in Chicago.
Dawson performed with the Chicago Civic Orchestra from 1926 to
1930 as the principal trombonist, and he taught music in several colleges
before returning to the Tuskegee Institute, where he founded the music

48
school and served for twenty-five years as its first director. There,
he directed the choir, an ensemble of 110 voices that toured exten-
sively in the United States, sang for national radio broadcasts, and
recorded professionally.
Prominent among his numerous compositions, and one that gave him
considerable recognition, was the Negro Folk Symphony, which was pre-
miered by the Philadelphia Orchestra under the direction of Leopold
47. The following biographical material was drawn largely from Maud
Cuney-Hare, Negro Musicians and Their Music (Washington, D.C.:
The Associated Publishers, 1936), 343-344; John Lovell, Jr., Black
Song: The Forge and the Flame. The Story of HOD the Afro-American
Spiritual Was Hammered Out (New York: Macmillan, 1972),417-418, 447-448;
Nicolas Slonimsky, "Dawson, William Levi," Baker's Biographical
Dictionary of Musicians, sixth ed. (New York: Schirmer Books, 1978),
388; and Eileen Southern, "Dawson, William Levi," The New Grove
Dictionary of Music and Musicians , ed. by Stanley Sadie (London:
Macmillan, 1980), V, 286.
48. Lovell, 417.

205
Stokowski in 1934. The majority of his compositions, however, are
spirituals intended for either solo voice or chorus. Many of these
choral versions were written for the Tuskegee Choir and, for the most
49
part, were published by the Neil A. Kjos Music Company.
The concert programs of the many high school and collegiate
choirs who performed for the national meetings of the various music
educators' conferences attest to the popularity of Dawson*s spirituals.
Undoubtedly, this celebrity resulted largely from their emphasis on
syncopated rhythms, which is created through a combination of melodic
and textual accents. Like those of Burleigh, these anthems are scored
mainly for unaccompanied voices within a homophonic framework, but the
careful attention to tempo and dynamic contrast is more in the manner
of those pieces by Dett. Angular melodies frequently outline triads
and move freely throughout the voice parts. In the texts of these
pieces, the Negro dialect is exaggerated considerably to create added
rhythmical accents. Dawson's choice of chords ventures little beyond
those contained in the diatonic framework, and altered chords, if used
at all, are generally reserved for cadences.
Two examples of Dawson's highly rhythmical spirituals are Soon-ah
Will Be Doneand Ain-a That Good News!^^ Both illustrate this com-
poser's preference for the call and response technique, a choral style
49. A bibliography of Dawson's compositions was unavailable.
50. Music Press, 1934, no. 102-A.
51. Music Press, 1937, no. 103-A.

206
in which a solo voice is accompanied by homophonic chorus. In the
first of these, the rhythmic pulsation of the opening choral refrain
with its ever present final phrase "goin' home to live with God"—
this latter is used at the conclusion of every verse and refrain—
provides a sense of musical unification as it recurs throughout the
strophic anthem (Example 94), Correspondingly, the element of rhythm
is somewhat downplayed in the verses of this piece. On the other
hand, the rhythmic abandonment with which the sopranos begin Ain-a
That Good News! finds little relief throughout the piece (Example 95),
The aural effect of weeping and wailing is rather clearly portrayed
in Soon-ah Will Be Done (Example 96), and the image of a heavenly
harp is created in Ain-a That Good NewsI with a subito piano in all
voice parts (Example 97). Both pieces, but especially the latter,
illustrate Dawson's flair for the theatrical, for they contain ex-
amples of altered chords and divided voice parts in which the upper-
most vocal ranges are showcased (Example 98).

52
There Is a Balm in Gilead is an example of Dawson's treat-
ment of a slow, flowing folksong melody. Although many features of
this style duplicate those of the previous examples, there is a no-
ticeable relaxation of the rhythm and an underscoring of melodic con-
tours through imitation (Example 99). At the conclusion of some phrases,
the meter is frequently altered to better facilitate the relaxation of
the tempo.
52. Music Press, 1939, no. 105.

207
Example 94. William L. Dawson, Soon-ah Will Be Done (Music Press,

no. 102-A), measures 1-4.
fife)0'1045
Soon all will be Jon' a - w/d de trou - Wes le won
1f jr V r 9 r- r cr
ooon ah will be don' a-wid de trou. - bles ob de worl]
Soon ab will be don' a - wid de trou - bles ob de worl,'
Soon ab will be don* a - wid de trou - ble5 ob de worl]
trou bles ob de worl, de trou-bles ob de worl*.
*• r r,,
trou bles ob de worl. de trou-bW ob de worl!
trou bles ob de worl* de t r o u b l e s ob de worl'
trou bles ob de worl, de trou-bles ob de worl*.

208
Example 95. William L. Dawson, Ain-a That Good News! (Music Press,
Lively (MM. J = 104)

> >•
I <jot a crown up i a the King-dom, Am'- a tliat good news \
Ain-a -that
Am- a that
Lively (mm, »=10*1 Ain'-a tkat
^ ^ j?' >> ) i> f j } j

r=r
I got a crown up in - a tlie Kingdom, Ain-a ilut goal news!
ooqd news!
news Ain - a imt good news!
good newi !
209
Example 96. William L. Dawson, Soon-ah Will Be done (Music Press,

2nd cnAing
o more weep-in an a wai
more wai Weep in an a
No more wail - in, more

ft * 4
o more^ ^weep-in an a- wai weep-jn an a-wail - in,
more weep - m# o more wai
wail - in* wail - in' weep - in' No wail - in'
weep m* an'a - wail - in, weep - uV, No wail-in',

. , 0 on p
No wail - in',
210
subito (J - 76)
svhilo (J * 7d) toiik tesltainel jo
news Ain'-a t nat good news!
I got a Itarpup in- a ike Ain-a that (pod newj|
subito (J s74.) with, restrained joy Ain'-a that good news I
•fp
cresc. Iwnga
<\auidi]
- -
good new.$ good news; good news, goodoews; my lawl! A -ain-a tJiat
good news; good news; good new, good news, my Lawd!1 A-arn-av lk*t
1 =» =» => =- - -
! 1
, " j T rr~i—p—^—*—>T
good news^ good news; good n e w ^ good news, my li^d!
good, good news g°°d news; good new^ good news, my Lawd! ^
I 1 I ^\ -A' •
211
a tern Ûlt3a- t^sz-

/T\ ? ^
good news. Lawd!
Sood news, good news) My UCd1. . • .
F r — '— t * ' K ' ' r ^V

good news, Qood news; My b y / d ! A - a m - a ^ t W qood newsl.
S -= L - y , I ^
o lawd! A-aiV-a tiiatjogj news!
ntsmtfQ '
Example 99. William L. Dawson, There Is a Balm in Gilead (Music

Press, no. 105), measures 8-10.
*NI 1 I
'j
Lj k
T W t f a Balm in Gil - e - a A
» .J- -J) »
SOul. There 15 a Balm in G i l - e - ad,
1 f _1m. ,
1
m -
i!5
50U.1, TKcrc is a Balm in ad,

1
1
L_z—if TTT tZ*

There is a Balm in Gil-e- ad,
, 9%-ft i !" ! 1 , , r—n I ,
F
1^4 4 o •
rl
f * • 4*
uu j f ^ a , ^
-*. E
r T1
1—#——^—1
* £ + - • m J ..'• -
* » • fcT ** «»
212
Commercial Advancements of the Spiritual
During the 1930Ts and 1940fs, at the height of the a cappella
movement in this country, the catalogues of certain publishing houses
reflected an increase in the number of arrangements of spirituals. The
prior composition of spirituals had been mostly undertaken by Negro
composers; however, several of these new pieces were written by non-
ethnic musicians, who tended to emphasize the entertaining aspects of
the style through the use of rhythm and dialect in their new arrange-
ments. Although these parodies must have appealed to their largely
Caucasian audiences, they were abhorred by the Negro composers, among
them John W. Work, who felt that these new pieces distorted and abused
53
the religious intent of the folksongs from which they were derived.
Undoubtedly, he was correct in many cases, yet the performances of
this group of Caucasian-based spirituals drew the attention of in-
creasing numbers of the American public, and in so doing, undoubtedly
helped to establish the genre as part of the American repertory during
the following years.
Chief among the non-Negro spiritual composers was Noble Cain,
the director of the Senn High School A Cappella Choir. The percussive
imitation of almost everything from shuffling gospel shoes to the bell
and the whistle of the gospel train, are included in Cain's spirituals,
implying that he aimed these pieces for concert performances rather
than church use (Example 100) • On the other hand, no church youth choir
fl
53. Work, Negro Spiritual,11 25-26.
213
Example 100, Noble Cain, De Gospel Train (Harold Flammer, no.

81086), measures 29-32.
Dincj, doiuj, whoo,
Ding, <Wj, wlioo,
1, licarde bell an' wta-tle 5I1e's com-in' 'noun* dc curve, S\KS
M\ " i f f - - «• it
111
,f! J i! d
hear de bell an' Jiu-tlc, s\te's com-in' 'roun* Jl cuiye) site's
¥ 1t-n P
4
<11f* 1 >1,
^
H 4: fd
library will likely be without at least some representation of Cainfs
versions.
These pieces contain most of the characteristics of their
models. Cain arranged them primarily for a large, unaccompanied choral
ensemble with up to eight voice parts. The choral sections, which are
usually homophonic, are often designed either as choral dialogues or
as solos accompanied by the full ensemble. The texts, drawn from tra-
ditional Negro spirituals, exaggerate the Negro dialect, and the style
is further popularized through the use of simple jazz progressions
(Example 101).
Around 1950, the Negro spiritual found its way into the reper-
tory of the professional popular singing ensembles such as Fred Waring1s

214
Example 101, Noble Cain* I Want to Be Ready (Boosey and Hawkes,

no. 1604) , measures 57-63.
£=JJL
1 1 :
7^1 'i "i 'i ^ M i l =
I wanlto be read - y. Walk in Je ru-sa - lem, Just like J°W
T f V * T ~T S
M
Ji ' M l T r m
I want to be reacL^. v Walk in Je - ru-sa - lem, Just like John. 1
A 'STK f "* ~ _
I want to be read - y. Walk in Je - ru-sa- lem. Just like JoW

g g: g f I fl »P f r Ia • ft Og I
I I / 1 1 I ' • ^ —
1 want to be read - y, Walk in Je - ru-sa- lem, Just like JoW
! ! V I \ I I i /5\
Pennsylvanians. Many of their arrangements were provided by Robert

54
Shaw, who was then musical director of the group. These arrange-
ments are scored for various combinations of men's voices and fre-
quently include passages for solo voice. Homophonic choruses sing
texts in an exaggerated dialect just like those of Cain, but Shawfs
rhythmic usage, unlike that of Cain, exploits a skillful contrapuntal
interaction between the voices (Example 102) • By the mid-century, the
simple Negro spiritual, which had begun as an improvisatory choral
style, had evolved through these arrangements into a form so techni-
cally demanding that its performance challenged even the finest ensembles.
54. For a fuller account of Robert Shaw and the Collegiate Chorale,
consult Chapter Three.
215
Example 102, Robert Shaw, Do-Don't Touoh-a My Garment (G. Schirmer,

no. 9954), measures 17-24.
Refrain
(Let it rock 'n vide!)
i /
Refrain Good Lawd. Good Lawd.

ulLet it rrock *7i viie.it
yo
p
GmTZ.
I*
my
y w^
t
God,- Good
, 0%
Lyd, j Good J_
Lawd To
My Lawd, Good. lawd,
yo* God_ and my God, Good lawd, I'm gwine home,
Good. Lawd, I'm gwine Ko»mc.„
yo' God— and my God, _ Good. Lawd, I'm gwme home,

M'y- Lawd. <jwine home.
Chapter VII
SUMMARY AND CONCLUSIONS
In the initial stages of this study, it was presumed that those
anthems written and performed in America during the years of the two World
Wars and an intervening economic depression reflected the sociological
upheaval of these eras. Interestingly, such was not the case, for no
evidence exists to support this hypothesis. Instead, the stylistic evo-
lution of the anthem in America derived from three separate occurrences,
not unrelated from one another, but apparently little influenced by the
sociological changes of the time. These events included the addition of
professional singers to the volunteer choirs of many churches, the estab-
lishment of the English choral tradition in American churches, and the
practice of a cappella singing by American collegiate and high school
choirs. Although they overlapped each other historically, for the most
part, these events occurred successively.
During the final years of the nineteenth century, the choirs of
many metropolitan churches were augmented with a quartet of professional
soloists, who could better negotiate the technical difficulties of the
more operatic style of European church music preferred by the congrega-
tion. This left little need for the participation of volunteer choral
singers and all but abolished any choral tradition that existed in Amer-
ican churches. At the same time, these changes created a need for a
type of anthem that could be performed either primarily or entirely by
the quartet. The initial compositions of Dudley Buck, with their tuneful
216
217
melodies and saccharine harmonies, delighted the congregations of fash-
ionable churches. Three of Buck's pupils: Harry Rowe Shelley, Raymond
H. Woodman, and William H. Neidlinger were largely responsible for the
continuation of this type of anthem into the twentieth century, and it
seems quite likely that the style might have dominated the composition
of American anthems throughout the first half of the century, had it
not been for the introduction of the English choral tradition into Amer-
ican churches.
During some of the same years that Buck's anthems swept the
country, Horatio Parker produced music for full choir that included lit-
tle material for soloists and utilized a more stable harmonic framework
by avoiding "popular" melodies and chromaticism. The efforts of Parker
prepared the way for English-born immigrants such as T. Tertius Noble,
H. Alexander Matthews, and T. Frederick H. Candlyn to introduce to Amer-
ican congregations a type of anthem composed for full choir in the English
manner. Because the musical abilities of many of the newly- or re-formed
volunteer ensembles in American churches were somewhat lacking, when com-
pared to the professional quartets, these new anthems featured simply-
constructed choral parts, with the more difficult passages reserved for
the organ accompaniment. Subsequently, this style of anthem became the
trademark of such as Seth Bingham, H. Everett Titcomb, Joseph Clokey,
Philip James and Leo Sowerby, who were known in this country not only
as composers, but also as competent organists.
Although these two developments resulted from events related
directly to the American church, the most influential factor affecting
the anthem in America, the practice of a cappella singing, occurred

218
outside the church. Founded in the performance medium of both American
and Russian choral ensembles concertizing in the major cities of the
United States during the first three decades of this century, this per-
formance practice captured the attention of American concertgoers largely
through the programs of the choirs from two church-related colleges—
St. Olaf and Westminster Choir College. Because they concertized to
attract students and potential benefactors to their schools, both of
these organizations consistently produced outstanding performances of
their repertories, which initially featured the original compositions
and arrangements for a cappella choir by F. Melius Christiansen, the
director of the St. Olaf group. Christiansen's pieces not only augmented
the existing anthem repertory, but they also inspired a wealth of sim-
ilar music by numerous other composers.
As the number of collegiate a cappella choirs increased, the
practice was adopted by many high school glee clubs as well. As a result,
the number of such choral ensembles associated with American educational
institutions surpassed those of the American churches, if not in total
number, certainly in size. During the 1930fs and 1940!s, it appears
that many of the more festive original compositions and arrangements of
sacred music, characterized by multiple divisions of unaccompanied voice
parts, were issued for the larger, more proficient choirs of the high
schools and colleges, rather than for the choirs in the churches. In-
cluded in this body of music were numerous American editions of Russian
choral music, American imitations of the Russian style, as well as both
Negro and Caucasian arrangements of spirituals.

219
In that many of these same pieces were found also in the choral
libraries of American churches, it seems that these larger, more dif-
ficult anthems came to the church through the influence of the school
ensembles. When one considers that many collegiate and high school
choral directors also served churches as music directors, this evolution
is not at all surprising. Moreover, the choral renaissance that occurred
in this country was in part perpetuated by the interrelationship of the
school and church choral programs. Today, this relationship is waning,
for many church congregations view choral music only as a vehicle for
transporting the spoken word, and many schools view it only as an aesthe-
tic experience with no message for the modern man. It appears, then, that
the strength of the anthem in America from 1900 to 1950 was built upon
the emotional wedding of these two ideas, and though it now seems in
abeyance, this union cannot be destroyed if the strong tradition of
choral music in America is to continue.

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A Mighty Fortress, performed by the Robert Shaw Chorale, conducted by

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31?

THE ANTHEM IN AMERICA: 1900-1950

Presented to tlie Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

Terry Lee Fansler, B.M., M.M.

sical examples, bibliography, 158 titles.

During the first half of this century, a wealth of anthem liter-

forgotten or is unknown to modern church musicians. The purpose of

"Anthems in the Anglican Tradition," "Prominent Choral Ensembles and

the Dissemination of the Anthem," "Anthems by Prominent Music Educa-

tors," "Anthems in the Russian Style," and "The Negro Spiritual."

General discussions include a history of the Quartet Choir; the

establishment of the English Choral Tradition in America; the develop-

ment of collegiate a cappella choirs from Northwestern University, St.

the Negro spiritual. Biographical sketches of the major composers and

detailed analyses of selected anthems from each comprise the majority of

Horatio Parker, T. Tertius Noble, J. Sebastian Matthews, H. Alexander

Matthews, Seth Bingham, H. Everett Titcomb, Joseph W. Clokey, Philip

James, T. Frederick H. Candlyn, Leo Sowerby, Peter Christian Lutkin,

F. Melius Christiansen, Morten J. Luvaas, Leland B. Sateren, David Hugh

Jones, George Lynn, Clarence Dickinson, Van Denman Thompson, Carl F.

Mueller, Noble Cain, Robert Shaw, Dmitry Bortnyansky, Alexandr Kastal'sky,

Alexandr Grechaninov, Pavel Chesnokov, Harry T. Burleigh, R. Nathaniel

Dett, and William L. Dawson.

Terry Lee Fansler

LIST OF MUSICAL EXAMPLES vi

II. ANTHEMS IN THE ANGLICAN TRADITION 32

III. PROMINENT CHORAL ENSEMBLES AND THE DISSEMINATION

Professional and Amateur Singing Societies

Peter Christian Lutkin

Commercial Advancements of the Spiritual

1. Dudley Buck. Festival Te Deum, Op. 45, no. 2

2. Dudley Buck. Cantate Domino, Op. 31, no. 4

3. Dudley Buck. The Lord of Hosts Is With Us

4. Harry Rowe Shelley. The King of Love My Shepherd Is

5. Harry Rowe Shelley. Christian, the Morn Breaks Sweetly

6. Harry Rowe Shelley. Hark! Hark} My Soul!

7. Raymond H. Woodman. A Song in the Night

8. Raymond H. Woodman. 0 Lord I Will Exalt Thee

9. Raymond H. Woodman. 0 Lord I Will Exalt Thee

10. Raymond H. Woodman. A Song in the Night

11. Raymond H. Woodman. 0 Lord I Will Exalt Thee

12. William H. Neidlinger. The Birthday of a King

13. William H. Neidlinger. The Birthday of a King

14. William H. Neidlinger. The Silent Sea

15. William C. Macfarlane. Ho, Everyone That Thirsteth

16. William C. Macfarlane. Ho, Everyone That Thirsteth

17. William C. Macfarlane. Ho} Everyone That Thirsteth

18. Horatio Parker. The Lord Is My Light

19. Horatio Parker. Rejoice in the Lord

20. T. Tertius Noble. Fierce Was the Wild Billow

21. T. Tertius Noble. Souls of the Righteous

22. T. Tertius Noble. Goto dark Gethsemane

23. T. Tertius Noble. Go to Bark Gethsemane

24. H. Alexander Matthews. This Is the Promise

25. H. Alexander Matthews. Voices of the Sky

26. H. Alexander Matthews. Voices of the Sky