Some Mss. of the Late F. J. Crowest's. What Has Become of Them?Author(s): Frederick ShortSource: The Musical Times, Vol. 65, No. 975 (May 1, 1924), p. 449Published by: Musical Times Publications Ltd.Stable URL: http://www.jstor.org/stable/914011 .

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THE MUSICAL TIMES-MAY I 1924 449

SOME MSS. OF THE LATE F. J. CROWEST'S-- WHAT HAS BECOME OF THEM?

SIR,-Some time before his death the late Frederic J. Crowest wrote to me stating that he had then in MS. two books in the Music Story Series (Walter Scott Publishing Co.). I have watched, but without result, for the publication of these books. They were Story of the Pianoforte and Story of Church Music.

Could any reader enlighten me? Does anyone know what became of these manuscripts; and is there any likelihood of the books being issued, for I consider this series and the Master Musicians (edited by the late F. J. Crowest) as invaluable to all serious musicians? I understand that the Walter Scott Publishing Co. is no longer in existence, so perhaps some other firm could publish the above-mentioned books, for I fully believe that there would be a good demand for them in the States. His other books are very popular, and justly so. Therefore I should be glad to hear from anyone who has knowledge of the late Mr. Crowest's affairs regarding these matters.-Yours, &c., FREDERICK SHORT

St. Paul's Church, (Organist and Choirmaster).

Brooklyn, N.Y., U.S.A.

MUSIC IN WORSHIP SIR,-Your correspondent Mr. Charles L. Frank, writing

in the April issue on the vexed question of the relative merits of Hymns A. & M. and the English Hymnal, seems to have neglected the important and all too apparent fact that congregational hymn singing is practically entirely a matter of association.

Why is it that far less than half of the six hundred odd hymns in A. & M. are never used in the average church to-day? It is not because the other half are bad, nor because those used are all good, but simply because the latter are familiar. Surely the better the music the meeter it is for worship in church. And so long as tunes are sung because of their familiarity, instead of their musical merit, so much the worse for the Church.

In quoting the tune 'St. Clement' (A. & M. 477) and saying it has 'been known and used for many years,' Mr. Frank almost admits (unconsciously, perhaps) this 'association' aspect of church hymn singing. One might cite the 'Old Hundredth' (A. &' M. 166) as another instance. The original setting of this, with its long notes at the begin- ning and end of each line and its magnificent last line, has infinitely more breadth and dignity than the modernised version in general use, but how often is it used? The tune 'Veni, Emanuel' is another case in point. How such a distorted arrangement as that in A. & M. (No. 49) is tolerated by right-minded church-people is a mystery to me.

The' English Hymnal, in giving these and many other tunes in their original forms, in addition to any number of magnificent unfamiliar and unknown ones, has done a great service to the Church, and the sooner this is generally realised, and the sooner hymn-tunes are judged on their merit and not on worthless, sentimental grounds of association, the better it will be for every one concerned.-Yours, &c.,

F. H. B.

'BROWS, HIGH AND LOW' DEAR SIR,-After reading about 'bad music,' an article

written by Feste in the Ad Libitum column, I feel prompted to write to you.

Reading between the lines it seems evident that Feste wants us all to worship and praise 'highbrow' music.

It is people like Feste, in fact all highbrows, seem to want us to say 'Glorious' 'Delightful' 'Splendid' to a lot of discord without good strain of melody. Not only does 'Classical' music 'torture' the performer, but in 9 cases out of Io ' tortures' the listener. Ive had some. He appears to make humour out of Hubert David that tuneful writer of 'They just wore a string of beads etc' but he dont make humour out of the individul who is 'writhing in agony' over a ' Highbrowsky Sonata.'

Because people do not like 'Classy ' music it does not mean that they are 'musically uneducated' as ' Feste' seems to think, and other 'great' musicians, what ought to know better. It shows that the people generally, like tunefull music and that they have an ear for beautiful sounds not 'musical science and gymnastics' which are a feature of the classics. I used endeavour to be a ' classic' pianist myself a few years back, but I know better now, I refuse to be hypnotised by these 'great masters' that their music is the best, I have studied what my own ears like. I do not want all to like what I like-popular music. But I'm going to see that the Highbrows do not attack popular music without getting a return blow. They have no right to attempt to stamp out the delights of popular music.-Yours truly, ' THE TRAVELLER.'

26, Londesboro' Rd., Stoke Newington. [We insert the above, in order that our correspondent

may have no cause to complain that his 'return blow' was suppressed. We would remind him, however, of the obvious fact that the most popular music in the world- that is, the music most widely performed during the longest period-is almost entirely the work of the classical composers for whom he has no use. We print the letter exactly as it was received, lest an attempt to amend its composition be regarded as yet more 'highbrowism.' It may be worth while to add that we do not overlook the possibility of its being an elaborate and moderately successful joke.-- EDITOR.]

AGENTS AND TEACHERS SIR,-The following facts should be of interest and serve

as a warning to singing teachers in general. As a teacher of professional students exclusively, it is my business to put them in touch with agents and managers. Latterly one of the former has taken a teacher of singing under his wing to whom applicants for work are recommended for 'finishing lessons.' Another of the tribe combines the two callings of concert agent and teacher of singing. In the latter case advertisements have been appearing inviting singers to apply to a West End concert direction for vacancies in a musical production. Some of my pupils replied, and in every instance received a proposal to take finishing lessons with a view to appearing at a concert, conditionally upon guar- anteeing a substantial sum for tickets. It would be interesting to know if other teachers have had similar experiences, and what steps they have taken in the matter. - Yours, &c., CLIFTON COOKE.

Guilford Street, W.C. I. E

'SHORT CUTS AND ROYAL ROADS' SIR,-I have read with interest in your March issue

an article by 'Feste' under the above heading. The situation there set forth is indeed deplorable, and I am afraid we here in the United States contribute an undue amount of unintelligent endeavour in this direction. Our music teaching is, of course, less regulated than yours, for we have no central authority like the Associated Board of the Royal Academy and Royal College, which sends out examiners and tries to set up some sort of standard. But I am certain no one here would have the hardihood to publish the following lines for children, no matter how young :

There was a little sparrow who sat upon a cat, And pecked all its whiskers away-

Said the pussy to the birdlet, 'You pickey-peckey brat, Do you think you're finding needles in the hay ?'

The source of all this misguided effort is found in the fact that those who originate it are oblivious of the important fact that young children should not see notation of any kind (including Tonic Sol-fa) until they have had a considerable experience of music as such through singing by ear and until, also, they have reached an age where notation can be taught to them as it actually is. The teaching of Tonic Sol-fa or of any other notation to children at the age of four or five takes away something very much more important- namely, an untrammelled experience of beautiful music as such, from which their musical sensibilities are aroused and quickened, their tastes fixed, and their lives made happier. Children who have had this simple experience of music from the age of four to the age of seven are quite ready to understand notation as it is, and to apply it to the experience of music already acquired. On a recent visit to Council Schools in London and schools in

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