Church Services. The Church Services at Sonning and All Saints' will be the same as in previous months. Music was used from the earliest times in the service of the Christian Church, though what the music of the first Christians was, can only be matter of conjecture. It would be natural for them to adapt to their own use the music of the countries in which they lived. Thus, in Judæa, the Christians could make use of the chants formerly used in the Jewish worship, while in other parts of the Roman Empire they would have recourse to the Pagan hymns of the Greeks and Romans. St. Ambrose, who about the 4th century established what is called the Ambrosian Chant, gave to its different modes or scales, the Greek names Dorian, Phrygian, &c., from which it seems probable that the music of the Church had been mainly borrowed from the Greeks. About two centuries afterwards it was arranged by Gregory the Great into the form of the ecclesiastical chant, which has ever since been used, and which bears his name. He also gave the names of the first seven letters to the sounds of the octave. About the middle of the fourth century regular choirs were introduced into the churches. These were divi ed into two parts and made to sing alternately. The method of musical notation in the time of Gregory the Great was that of simply writing the words, and placing above each syllable the letter indicating the note to which it was to be sung, and it was not till some centuries later that a plan similar to the one in use at the present day, only with four instead of five lines, was introduced by Guido of Arezzo. The development of Church music was no doubt much influenced by the invention of organs, which is supposed to be of as early a date as the 8th century, though they were not in frequent use before the 10th century. The first specimens of this instrument must have been very rude and simple in construction, although judging by ancient descriptions their size was considerable. In a curious account of an organ written by a monk of the 10th century which has been preserved, we are told that it required no less than seventy bellows blowers, and had four hundred pipes. In a later work on organs the keys are represented as being at first five or six inches broad, and they must have been played upon by blows of the fist. Altogether it is probable that no instrument having much resemblance to our modern organs could have been in existence very long before the period of the Reformation. Until we reach the 16th century, the age of Palestrina and his contemporaries, there is but little to be said on the subject of Church music, but from that period it passes through a succession of great names until it had reached in Handel and Mozart, who may be called the Michael Angelo and the Raphael of the art, a grand and perfect development, which we cannot conceive it possible to surpass. We must however pause a moment to consider a growth of music, associated with the middle ages, of a secular character, viz., that represented by the Troubadours or wandering Minstrels. These were men professing the musical art, who travelled from place to place singing to the accompaniment of a harp or viol, and it is to them we owe some of the oldest specimens of melody which are preserved. The story of Blondel, one of these minstrels, and his friendship with Richard Cœur-de-Lion will be familiar to our readers. One of the most charming scenes in Sir Walter Scott's works is the passage in "the Talisman," (chap. xxvi,) in which is depicted the meeting of the king and his favourite minstrel. The Troubadours may be considered as representing in their day the secular side of music, that on which it appeared as the exponent of the feelings and passions, and with them consequently melody found a scope and freedom of development which are not to be looked for in the music of the Church. The most prominent figure in the musical history of the 16th century is that of Palestrina, many of whose great works are still extant. His most celebrated composition is the Mass of Pope Marcellus, the admiration of musicians to the present day. There was also during this period a school of music in England, worthy to be ranked with any other of its time, and comprising names which are still honoured as those of the fathers of Church music. We shall give a short sketch of some of its principal representatives. Christopher Tye whose anthems are still sung in our Church Services, was musical preceptor to the children of Henry VIII. Tye is described in the Chronicle of Anthony à Wood as "a peevish humoursome man," and sometimes, continues the chronicle, " playing on the organ in the chapel of Queen Elizabeth, which contained much music, but little to delight the ear, she would send the verger to tell him that he played out of tune; whereupon he sent word that her ears were out of tune." Thomas Tallis was born early in the reign of Henry VIII, but very little is known of the history of this illustrious musician. He set to music the parts of the English Liturgy generally sung, the morning, evening, and Communion Service, including the Litany and responses. These are still in general use, and to the present day are not surpassed for dignity and devotional expression. * William Bird, supposed to have been born about 1543, was the pupil and friend of Tallis. His services and anthems are still sung in our Cathedrals. The canon "Non nobis Domine," though some have claimed it for Palestrina, was undoubtedly composed by Bird. He was a performer of great power upon the organ and virginals. The latter was a keyed instrument in general use at that period, a kind of forerunner of the spinet and harpsichord, as those instruments were of the modern piano-forte. A manuscript book of music * Sung at our Choral Festival in June last. for the virginals, compiled for the use of Queen Elizabeth, who was an accomplished performer on the instrument, is still preserved in the British Museum. Orlando Gibbons was born in 1583, and died in 1625. His services and anthems are marked by striking loftiness of thought, possessing at the same time a clearness and flow of melody very unusual in the productions of the age in which he lived. Want of space compels us to pass rapidly over the names of Henry Lawes, the friend of Milton and composer of the music to his masque of Comus, of Matthew Locke, the most distinguished musician of the reign of Charles II, known as the composer of the music to Macbeth, of Dr. Blow, and others, until we come to that of Purcell, who, as the greatest musician England has produced, requires a longer notice at our hands. Henry Purcell was born in the year 1658, and like Mozart, gave tokens of great musical powers at a very early age; as he also resembled that great master in the shortness of his life. While yet a singing boy in the King's Chapel, and before he could have been taught anything more than the elements of singing, he produced several beautiful anthems, which are still sung in our Cathedrals. This early intuition, reaching and appropriating by an inborn light, rules and conclusions which in ordinary cases are only attained by long and painful study, is the never failing characteristic of genius, and indeed may be said to be that which distinguishes it from talent. In his eighteenth year Purcell was appointed organist of Westminster Abbey. At the age of nineteen he composed the music of a drama called Dido and Æneas. His greatest work however, is his Te Deum and Jubilate, a magnificent piece of choral music, written (for the first-time in England) with orchestral accompaniments. This grand composition is now seldom used, having given place on great occasions to the Dettingen Te Deum of Handel. Purcell's anthems take the highest rank among English Church music. His compositions include also many dramatic pieces, sonatas for the violin, a great number of songs, duetts, pieces for the harpsichord, glees, &c. Many of these are now unknown, but some single compositions, as for example the patriotic airs "Come if you dare," "Britons strike home," "Mad Tom," and others are likely to be familiar as long as English music exists. Purcell died in 1695, at the age of thirty-seven, (the same age at which Mendelssohn died), and was buried in Westminster Abbey, where the following beautiful inscription by his friend the poet Dryden was placed to his memory:- "Here lies HENRY PURCELL, Esq., who left this life and is gone to that blessed place where only his own harmony can be exceeded." W. G. To be continued. SCHOOL FEAST. Our School Feast was held on Tuesday, July 27th, and was as successful as possible. The day was perfect, bright, but not too hot. We had a large assemblage of friends and neighbours, and 190 children from Sonning, All Saints, and Woodley Schools were entertained. The games went on till past eight o'clock. ST. ANDREW'S CHURCH, SONNING. VI. Leland says in his Itinerary, describing Sonning Church, "In the South Isle, be two or three Vouësses buried, kinswomen to the Bishop of Saresbyri." "Vouësses" is an old English word, meaning Nuns, persons who have taken religious vows. This monument must have disappeared even before the time of Ashmole, as he does not mention it. He however notices other monuments which are likewise no longer to be found; for instance, a brass in the south aisle, of a man in complete armour, of the name of Robert Lenham, A.D. 1491; and another under the East window of the chancel, of an "ecclesiastic in his habit and furs," with this inscription, "Pray for the soul of Mr. John Hyde, formerly Vicar of this Church, and Prebendary of the College of S. Mary Ottery, who died April 11, 1505." It will hardly be interesting to our readers to have a minute account of all the ancient monuments remaining, but a few must be selected as specimens of the whole. All the Barker monuments were in the Chancel. The monument to Lady Litcott, who was a Barker, was on one side of the East Window, and most of the brasses were within the Sacrarium. Lady Litcott we removed to the South Chancel Aisle, and the brasses were all re-arranged in the Chancel, outside the Communion rails. The brass which we recovered in fragments is one mentioned by Ashmole. It represents the figure of a man in a short gown with this inscription, under this stone lyeth Anthony Barker, son of Ambrose Barker, who departed out of this present Lyfe the 8 day of Dec. in the Yere of our Lord God, 1546. On whose Soule Jhesu have mercy. Amen." Another brass is to William Barker, "sometime steward and receiver of this Lordship of Sunning, who departed out of this present Lyfe the 18th day of Sept. in the Yeare of our Lord God, 1549, and the the third Yeare of the Raigne of our Soveraigne Lord King Edward the Sixt. On whose Soule Jhesu have mercy." Another is the figure of a woman in a veil, and underneath this inscription, "Here lyeth Elizabeth Chute, daughter of Sir George Chute, Knight, and Dame Anne his wife, who lived three years and six months, and dyed 18th of May, An. 1627. What beauty would have lovely stiled, What manners sweete, what Nature mild, And till the coming of the soule To call the Flesh, we keepe the roule." "Here There are some more brasses to the Barkers, but none of any particular interest; on them are some curious small figures representing the sons and daughters of the family. We must however notice one other brass. The inscription on it is "Here lyeth the body of Thomas Frognall, Gent. M. of Arte in Oxford, who dyed, the 23d day of Aug. 1612, being of the age of Fourscore and ten years.' O let my Soul live, and it shall praise Thee." Above this is a brass plate, with a little frog beautifully engraved upon it; no doubt the crest of Mr. Frognall. The best of the ancient monuments, is that to Lady Litcott, before mentioned. It is of black and white alabaster. She is represented kneeling at a faldstool, or prayer-desk. It is interesting to trace the gradual change from the old medieval monu ments to those of modern times. Up to the Reformation, the figures of the dead on monumental tombs, were always represented in a recumbent posture, with the hands clasped as if in prayer. There then followed a period of transition, during which the effigies were placed like that of Lady Litcott and the figures which we took out of the vault, in a kneeling attitude. Later on after the Great Rebellion, the modern half-heathen designs of figures weeping over urns, of broken columns, of flickering lamps, of death's heads and cross bones, and the like prevailed. It may be hoped, that we are now again returning to a purer and more Christian taste in these matters. The inscription on Lady Litcott's monument is so difficult to read, and so worthy to be known, that it may be well to give it at length. "Here lieth buried the Body of Katharine Lady Litcott, late of St. Sepulchre's Parish, London, Widdow, Daughter of William Barker, of Sonning, in the County of Berks." After recounting her marriage to Sir Christopher Litcott, it goes on, "after whose death she continued a widdow more than 30 years; leading a vertuous and sanctified life; in meditation every day of her last day; consecrating herself to a pious hearing and reading the Word of God; zealous of good workes; exceeding charitable to the poor; as well by settled allowance to divers, as by her daily open hand; a faithful steward of God's blessings, and laying up for herself much treasure in heaven; helpful to all her friends: in great measure respected by the best; where she lived beloved of all: always of good name and happy fame; a credit to her friends and family, and as the whole course of her life was truly godly, so was the end thereof rightly happy in a longing desire to be with Christ; often reiterating these words, "Come Lord Jesu, come quickly," and calling upon God in a strong assured faith in the merits of Christ her Saviour, departed this life upon the 17th day of January, in the beginning of the 77th year of her Age, A.D. 1630." We may include in this paper a notice of the curious monument which we found in the Blagrave vault. There was no name upon it, but there is every reason to believe it was a memorial to some members of the Blagrave family. Ashmole does not mention it, so it must have been deposited in the vault before his time. The monument represents six kneeling figures, three male and three female, of the date of the reign of King James I, with the following inscription, in which one word is partially effaced. "If life or** ge might be bought For silver or for goulde Still to endure it would be sought What King would then be oulde But all shall pass and followe us This is most certen treuthe Both the high and lowe of each degree As ye be found meete or unmeete Against the dreadful hower As ye be found so shall the sweete Be served with the sower All this is said to move their hartes |