USA > Pennsylvania > Dauphin County > Harrisburg > Centennial memorial, English Presbyterian congregation, Harrisburg, Pa. > Part 7
Note: The text from this book was generated using artificial intelligence so there may be some errors. The full pages can be found on Archive.org (link on the Part 1 page).
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11 | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17 | Part 18 | Part 19 | Part 20 | Part 21 | Part 22 | Part 23 | Part 24 | Part 25 | Part 26 | Part 27 | Part 28 | Part 29
Oh, may thy love inspire my tongue ; Salvation shall be all my song, And all my powers shall join to bless, The Lord, my strength and righteousness.
The President of the Evening introduced Rev. Charles Edward Greig, Superintendent of the McCall mission work
106
Centennial Memorial.
in Paris, France, who pronounced the Benediction. After the Benediction the audience tarried to hear the last of the inspiring music of the night, Lemmens' " Marche Pontificale."
The brevity of this sketch of the most complete and enjoyable musical festival given in many years in Harris- burg is justified only because there follows another sketch prepared at the request of the editor by the Rev. Thomas B. Angell, Rector of St. Stephen's Protestant Episcopal Church, who was an interested auditor, and who is most competent to write in a critical way of the evening.
---
THE MUSICAL FESTIVAL.
By Rev. THOMAS B. ANGELL, B. D.
In the address with which the Rev. Mr. Skilling intro- duced the speaker of the evening, he made a happy refer- ence to the past that the church had a history of music co-eval with itself. And it was therefore not only fitting but suggestive that one evening of the Centennial week should be devoted to a musical festival-suggestive in that it indicated the increasing importance attached to praise as an integral part of worship. The writer may perhaps be allowed to congratulate the Presbyterian Church on its increasing perception of the truth that there can be few ways in which the higher aspirations of the spiritual nature can be better expressed than through the instrumentality of music; more especially as the power of such expression in its higher forms has been given to man only of all created beings.
It may safely be asserted that the time referred to by Mr. Graydon, when a psalm tune, lined out by the precentor and followed, more or less, by the congregation, was all that was considered permissible, and when that noblest of instruments, the organ, was looked upon as savoring of Romish tendencies, has forever passed. And no stronger evidence to that effect could have been brought forward than the elaborate and satisfactory musical pro-
108
Centennial Memorial.
gramme rendered on this occasion, under the able director- ship of Mr. George R. Fleming, assisted by the masterly ability of Mr. David E. Crozier at the organ.
Were this notice intended for temporary purposes only, it would be amply sufficient to print the programme and the names of those who assisted in its rendition; no other comment as to the adequacy of the production to the occasion would be necessary. But as it is under- stood that this volume is intended to be a reminder to future generations of this week of rejoicing a more extended notice seems to be called for. The writer regrets that his knowledge is not sufficient to adequately notice the organ work rendered by Mr. Crozier. We can only say that the selections were as happy as their rendering was satisfy- ing to musical taste, and it is safe to add that the varied resources of the organ were never more fully displayed. The vocal work was in the hands of a large choir, in which Mrs. E. Z. Gross, Miss Helen Espy, Miss Reba Bunton, Mr. George R. Fleming, Mi. E. Z. Gross, and Mr. W. G. Underwood ably sustained the solo parts. The opening number, Dudley Buck's well-known Festival " Te Deum," probably the most satisfactory piece of sacred music written by this com- poser, was admirably rendered. Clearness of enunciation, accuracy of attack, and pleasing blending of parts testified to careful work and to Mr. Fleming's able leadership. Were any criticism to be made, it might perhaps be said that the time taken was somewhat too slow. In the absence of Miss Briggs, Mr. W. G. Underwood sang admirably, " Glory to thee my God this Night," a selection well calculated to display the power of the lower range of
109
Sketch by Rev. Thomas B. Angell.
his voice. This was followed by an organ solo, Mozart's ยท well known Andante in F, most satisfactorily rendered by Mr. Crozier. The anthem, "Lo! it is I," by Faure-Shelly, displayed the good training of the choir in being able to lend interest to a somewhat uninviting piece of writing. Miss Bunton then sang the contralto solo from Gaul's Can- tata, The Holy City, "Eye hath not seen," &c., one of the most beautiful bits of devotional musical writing which these later years have produced. While not tuneful-as alas ! some people after a long training in the meretricious music of Gospel hymns, and so forth, reckon tune-its majestic mel- ody adequately mirrored the magnificent words to which it was wedded and no higher praise can be given than that. Miss Bunton's rendering was worthy of the music, which gave large opportunity for the display of a contralto voice, most unusual in its range and power, and specially fitted for the impressiveness of oratorio music. It was said in a metropolitan paper a few days ago that while nature afforded ample supply of soprano and bass voices, and was not niggardly in tenors, it was rarely indeed that she pro- vided contraltos. Our city is to be congratulated on having one of the rare voices within its limits, and the choir of Market Square Church on being able to number it among its musical resources. The duet, " Forever with the Lord," was sung by Mr. and Mrs. Gross with that mutual sympathy and tender feeling which gives such a charm to their work in duet singing. The choir fully sustained their previous efforts in their rendering of the anthems, " O, Clap Your Hands," by Buck, and " Qui Tollis," by Farmer. Both of these selections were of that florid style, always popular,
7
110
Centennial Memorial.
but with which the writer has to confess a certain want of sympathy. They are apparently composed with the main idea of showing off the agility of the human voice, the senti- ment of the words being a minor consideration. The exe- cution of them by the choir was, however, exceedingly good, though the substitution of English words in the latter anthem for the Latin, for which the music was written, detracted somewhat from the effect. A special mention is due to the solo " Jerusalem" sung by Miss Helen Espy. Suited as it was in every way to the capabilities of her voice, Miss Espy rendered it with admirable purity and force of tone, together with a warmth and justness of expression that made it excep- tionally pleasing to the hearers. To Mr. George R. Fleming great credit is due for his admirable conducting. as well as for the aid which his strong, yet pleasing tenor, afforded to the choir in the concerted work. To the writer not the least satisfactory part of the programme was the closing congrega- tional hymn. A Presbyterian lady informed him that it was among her earliest recollections as having always been sung on the occasions of the administration of the communion. The air was evidently based on one of the Gregorian tones, and it is worthy of remark that the old favorites, "Olmutz" ; and " Hamburg," composed by Lowell Mason, were both adaptations from Gregorian music, the former being an arrangement of the eighth tone. It is pleasant to feel that in music, as in creed, the Christian church of to-day is linked with the long distant past.
Mr. Graydon's paper of reminiscences detailing the various stages of progress and change through which the
111
Sketch by Rev. Thomas B. Angell.
music of the congregation has passed in the last century was both interesting and appropriate.
In every way this evening of melody was a worthy and fitting contribution to the varied features of this centennial celebration. That it was appreciated was testified by the presence of a congregation that taxed the utmost resources of the church.
SOME ADDITIONAL REMINISCENCES.
By the EDITOR.
Mr. H. Murray Graydon's excellent paper upon the hymnology of the mother Presbyterian church of Harris- burg revived memories in the minds of many in the congregation These reminiscences have been gathered by the Editor into the following article :
There is a significant coincidence in the organization of the first choir in the same year that Dr. DeWitt began his ministry. It was probably one of the first fruits of his ministry.
From that time to the present there is no intimation in the testimony of persons or of records that the music of the sanctuary has been neglected. On the contrary, pastor and people have made every effort to make the music an edifying part of the worship on the Lord's day and at week day services. A former member recalls that somewhere in the twenties Mr. Joel Harmon, an itinerant music teacher formed a class for "the study of music and improvement in the art of singing" which met weekly. Many of our singers were in the class, and its meetings were frequently held in our church. Each member brought a tallow candle to sup- ply light. Mr. Harmon would make his lighted candle serve as a baton as well. The coat and hand bespattered with melted tallow gave evidence to his energetie efforts in bringing his pupils to time and expression.
113
Some Additional Reminiscences.
Another former member was reminded by Mr. Graydon's reference to Dr. De Witt's custom of "raising the tune " at the week-day service, of an occasional slip. He would hum over to himself the first two lines of the tune, and then start the hymn, unconsciously joining the first line of the hymn to the third line of the tune, much to the merriment of herself and her young companions.
To the early singers mentioned by Mr. Graydon, there ought to be added the names of Misses Rose and May Wright, neices of Major Forster, afterwards Mrs. Samuel and Henry Cross, Miss Ellen Graydon, afterwards Mrs. White- hill, Miss Theodosia Graydon, afterward Mrs. Joel Hinck- ley, Miss Margaret C. Berryhill, afterwards Mrs. Geo. P. Wiestling, Miss Martha S. Ingram (Mrs. William Dick Boas,) Miss Isabel Sloan, Miss Margaret Hays, Mrs. John 1. Weir, nce Miss Catharine E. Wiestling, Messrs. Andrew Graydon, Samuel Cross and Geo. P. Wiestling. Many of these had voices worthy of more than passing notice, especially Geo. P. Wiestling and his sister, Mrs. John A. Weir, whose voices combined unusual sweetness and strength. A former member writes: "The memory of Mrs. Weir's voice, its wonderful sweetness, strength, range, rare pathos, and power to sway the feelings of her hearers, still lingers in the minds of her cotemporaries. Often has my father, returning home from trips to different parts of the State, told us about some one asking if that voice were still in our choir."
In addition to those mentioned by Mr. Graydon as sing- ing at a later period were Miss Elizabeth Boyd, Miss Frazer, Miss Josephine Smith, Mr. Lucius V. Parsons, Mr. David
114
Centennial Memorial.
Fleming and Dr. James Fleming. Special mention is due the Fleming brothers. Mr. R. Jackson Fleming was for a period of fourteen years leader of the choir, and for many years his two brothers, David and James, were acceptable members of it. It is notable that in later days the three sons of Mr. David Fleming, and one daughter, Charles M., David, Jr., George R. and Sara, now Mrs. Joshua W. Sharpe, have been prominently identified with the music of the church.
The thirties and forties were delightful choir days. The rehearsals were held on Friday evenings, and the whole evening was given up to it. Such prominence did choir practice have in the social life of the then village that parties were never given on choir night, friends were invited to the practice, and it was regarded as one of the delightful events of the week. About this period it was the custom for our choir and that of the Reformed Salem Church, then under the leadership of Mr. Geo. P. Wiestling, to visit each other in a body once a month for social and musical enjoy- ment.
From time to time new voices appeared among those with which the congregation had become familiar. Among those who sang about the middle of the century referred to by Mr. Graydon, ought to be included Miss Mary J. Partch and Mr. Saxton, both of whom had voices of remarkable sweet- ness and power of expression; Miss Kate Doll, afterwards Mrs. Dr. Harris; Miss Esther Doll, afterward Mrs. Bradshaw, " whose voice will never be forgotten by the congregation of that day;" Miss Jeanette Street, afterwards Mrs. James Fleming, and Mr. Peter K. Boyd. In these days the choir
115
Some Additional Reminiscences.
was large and popular. Mr. George B. Ayres and others testify that "it was the best choir in town, as a whole," and that its reputation extended throughout the State.
Mr. Graydon's reminiscences ended with the year 1858. During these last thirty-five years the choir has maintained the high standard of early days. The disturbed conditions of life of the sixties, the presence of soldiers, the military hospitals, the tide of war rolling to our very doors, inter- fered seriously with the church life of that period. It was almost impossible to have choir practice. One of the choir of those days says, "Frequently did we have to hurry so rapidly from hospital to church that we hardly had breath enough to sing the first hymn." From 1850 for a quarter of a century Mr. Silas Ward was closely identified with the choir. His ability as a conductor, his fine tenor voice and his great enthusiasm as a musician were of invaluable service to the music of the church.
It is impossible to give a complete list of all who have been in the choir since the erection of the present church building. During this period there appear in this company the names of Miss Sibyl Fahnestock, now Mrs. Thomas II. Hubbard; Miss Ellen J. Weir, Miss Rachel T. Briggs, Miss Maggie Barnitz, Miss Annie Roberts, now Mrs. Purvis ; Miss Kate Roberts, now Mrs. Lowell; Miss Ellen Roberts, afterwards Mrs. Kelker; Miss Elizabeth McCormick, now Mrs. Phillips; Miss Belle Briggs, afterward Mrs. Blaikie; Miss Carrie Hickok, now Mrs. Schell; Miss Sibyl M. Weir, Miss Nellie Fleming, now Mrs. Bruner ; Miss Alice Westbrook, now Mrs. Fager; Miss Mary Detweiler, now Mrs. Quickel ; Miss Sara Fleming, now Mrs. Sharpe; Miss Carrie Porter,
116
Centennial Memorial.
now Mrs. Shotwell; Miss Annie M. Robinson, Louis Fahne- stock, Wallace W. Fahnestock, James W. Weir, Jr., Dr. Cherrick Westbrook, Jr., Henry F. Quickel, Charles M. Fleming, Melancthon S. Shotwell, George W. Boyd, William R. Fleming, Luther R. Kelker, William A. Robin- son, John W. Reily, John Porter.
Mr. Charles M. Fleming, whose sweet, rich tenor won for him a wide reputation during his college days as a member of the Princeton University quartette, became the leader of the choir upon his return from college in 1875, and remained in that capacity until his death in 1883. The choir was without an authorized leader for some time, though his brother, George R. Fleming, by common consent, was recog- nized as the leader. On March 21st, 1887, he was elected by the Session to that position and still fills it with great acceptance.
It is worthy of note that some families have been identi- fied with the music of the church through a long period of years. Mention has already been made of the two genera- tions of Fleming brothers. Besides these are the three Doll sisters, Miss Kate Doll (Mrs. Harris), Miss Esther Doll (Mrs. Bradshaw), Miss Sarah Doll (Mrs. McCauley), the latter being a member of the present choir. There have been three generations of the Roberts family, Col. James Roberts and his children, Mrs. Kelker, Mrs. Purvis, Mrs. Lowell, Mrs. Given and Alexander, and the children of the two latter, Alexander, Jr., George, John B. and James Roberts, and Misses Elizabeth and Louisa Given. Two generations of the Weirs have been in the choir, Mr. and Mrs. John A. Weir, Miss Ellen J., James W., Jr., and Miss Sibyl M. Weir
1
117
Some Additional Reminiscences.
and of the Briggs family, Mrs. Julia A. Briggs, Miss Belle (Mrs. Blaikie) and Miss Rachel Briggs, and of Dr. James Fleming's, Dr. and Mrs. James Fleming, Miss Nellie (Mrs. Bruner) and William R. Fleming.
The present choir is published in the Appendix to this volume among the present organizations of the church. It is only needful to call attention to the rare musical festival of Centennial Week to emphasize the high class work done by this volunteer choir. This choir, by its occasional praise services on Sunday evenings, has done much to magnify the place music has in the service of the sanctuary. These services were first introduced into the city by this church several years ago, and our example has been generally fol- lowed by the other churches.
MUSICAL INSTRUMENTS .- As full and accurate an account of the various musical instruments in use prior to the first reed instrument, as it is possible at this date, is given in Mr. Graydon's paper. He very correctly says that Mr. Silas Ward introduced the first reed organ about 1850. It was a small affair, being what is called a melodeon. This was shortly followed by a large reed organ of unusual size and superior quality. It must have been a remarkably well made instrument as it has been in use for at least forty years and is still doing duty in the lecture-room. It was rescued from the fire in 1858, and continued to serve in the public worship of the Lord's day until 1872. During nearly all these years, from 1850 to 1872, Mrs. Isabella S. Kerr, was organist. Miss Sibyl Fahnestock (Mrs. Hubbard) and Miss Mary Nutting (Mrs. Wallace W. Fahnestock) also served acceptably in this capacity.
118
Centennial Memorial.
This organ gave place in the latter year to the large Hook & Hastings pipe organ given by Mr. James W. Weir in memory of his beloved wife. This organ is still in use, and for sweetness, richness and power is not surpassed by any in this portion of the State. This organ has twenty-six stops, eleven hundred and eighty-three pipes, five mechanical registers, and four pedal movements. The case is black walnut, the pipes are silvered, with gold mouths, and its general design is made to correspond with that of the pulpit which it fronts. The silver plate on the front of the organ bears the following inscription: "Presented by Mr. James W. Weir, a memorial of his wife, Mrs. Hanna A. Weir, who died February 12th, 1872."
On September 25th, 1872, the new organ was dedicated with an elaborate recital. Mr. John Zundel, organist in Rev. Henry Ward Beecher's church, Brooklyn, together with Mr. Thomas Winn, who had just been elected organ- ist, gave the large audience gathered for the occasion an exhibition of the many excellencies of the new instrument. The church choir sang several anthems and led the con- gregation in "Coronation," "Avison," " Mendon " and "Old Hundred." The soloists of the evening were Miss Rachel T. Briggs and Miss Maggie Barnitz. Mr. Silas Ward was the leader.
It is interesting to note that while the church had, up to this time, been decorated with flowers at weddings and on other week day occasions, it was not until the first Sunday the new organ was used that flowers were placed about the pulpit on the Lord's Day. The custom then inaugurated has been happily continued until the present.
119
Some Additional Reminiscences.
From 1872 to 1879 Mr. Winn, Mr. Charles H. Small, Miss Ellen A. Walker, served as organists. On January 1st, 1879, Mr. Henry F. Quickel was selected as organist and con- tinued to serve in that capacity until April, 1886. For several months Miss Sara B. Chayne, and Mrs. David Fleming, Jr., took charge of the instrument. Mr. David Edgar Crozier, the present accomplished organist, began his duties on the last Sunday in November, 1886.
The reed organ in use in the Senior department was a gift, at the dedication of the present Sunday-school in 1883, from the Superintendent, Mr. Samuel J. M. McCarrell, a memorial of his son, Wallace A. McCarrell, who departed this life, December 16th, 1880.
The reed organ in the Intermediate room was the gift of Mrs. David Fleming, in 1891. The piano in the Primary room was secured by the officers of that department and the Young People's Society of Christian Endeavor, in March, 1890. The reed organ used in the parlor was pre- sented by Mr. James W. Weir many years ago.
Special reference must be made to the valuable services of Mrs. Isabella S. Kerr. For nearly fifty years Mrs. Kerr has been identified with the music of the church. Her fine musical ability, her abiding interest and untiring devotion to everything pertaining to our musical affairs, her aptitude to fill any place and meet any emergency made her indis- pensable. Not only did she serve in the public worship of the sanctuary, as has already been mentioned, but for many years she played the organ and led the singing in the lecture room, and had charge of the music in the Senior department of the Sunday-school. When the present
120
Centennial Memorial.
Pastor arrived in Harrisburg, she introduced herself as "Chairman of the Committee on Music, Flowers and Dirt." Her unremitting attention to the cleanliness of the sanctuary, her love for flowers and diligent care to have them each week for many years about the pulpit, her personal connection with the music as singer, organist and director, justify this rather unique and suggestive title.
MUSIC AND HYMN BOOKS .- Mr. Graydon has given all the facts obtainable touching the music books used by the choir prior to the introduction of the modern combined hymn and tune books.
On October 22d, 1834, the Session resolved to recommend to the " congregation to adopt in their public worship the Psalms and Hymns, comprised in the selection authorized and recommended by the General Assembly of the Presby- terian church, and that if there be no objection made by the congregation to their adoption they be introduced the first Sabbath of December next." There seems to have been no objection offered, for this collection came into use and continued to be the hymn book for use in publie worship until 1859. This collection was a revision under the direc- tion of a General Assembly Committee, of a previously existing collection of Psalms and Hymns by Dr. Isaac Watts, and it took the place of the early edition in the wor- ship in our congregation. The earlier collection gave more prominence to the Psalms than to the hymns. Its hymns were arranged in three books, those "collected from the Scripture," one hundred and fifty hymns, those " composed on divine subjects," one hundred and seventy, and those
121
Some Additional Reminiscences.
" prepared for the Lord's Supper," forty-five, a total of three hundred and sixty-five hymns.
How long this collection was in use in the congregation prior to 1834 is not known; but there is every reason for supposing that it was the first hymn book used by the con- gregation. The collection adopted in 1834 shows the tendency to an increasing use of hymns. There are fewer Psalms and more hymns. It was a thorough revision of the earlier book, especially in the section devoted to the hymns. Old hymns were omitted, new ones inserted, and the arrangement was more convenient, as the hymns were consecutively numbered. There were five hundred and thirty-one hymns, most, but not all of them, from the famous Dr. Watts. Doddridge, Montgomery, Mrs. Steele, Newton, Beddome, Heber, Cowper, Toplady, Fawcett, and noticeably Wesley are among the hymn-writers, whose pro- ductions the congregation began to sing in 1834.
This collection continued in use until 1859. About this date, possibly in October of that year, the "Church Psalm- ist" was adopted. This was a collection which had been published for several years as a private enterprise, and which was purchased by the new school General Assembly in 1857 and commended to the churches. The Psalms and hymns are still bound separately; there is a more systematic arrangement of the hymns; the hymns number eight hun- dred and fifty-eight and are drawn from a wider range of authors.
In November, 1874, Mrs. Eliza E. Haldeman, of precious memory, presented the church with over five hundred copies of the then new " Presbyterian Hymmal," which still
-
122
Centennial Memorial.
continues to be the book used in public worship. This book is a radical departure from those in previous use in several respects. The Psalms and hymns are no longer kept apart, but are so mingled and undesignated that they cannot be distinguished from each other except by those familiar with the Psalms. The tendency to lessen the num- ber of Psalms and increase the hymns has gained percepti- bly since the earlier collections. In one thousand and six songs, probably not one in twenty could properly be called a version of a Psalm. The greatest change and the best is in the combination of tunes and words in the same book. This collection, while not ideal, was a great improvement over any other used by the congregation. This was the first time that the church had owned her hymn-books, and it was necessary that some provision be made in the pews for receiving them. Mr. William O. Hickok generously placed, at his own expense, racks in the pews for this pur- pose.
Need help finding more records? Try our genealogical records directory which has more than 1 million sources to help you more easily locate the available records.