The passing of the precentor

\ STUDIA IN /

Presented to
THE LIBRARY

of

VICTORIA UNIVERSITY

Toronto

by

Dr. K.H. Cousland

The
Passing of the Precentor

JOHN CAMPBELL

IN THE TOI.BOOTH CHURCH OF ST GILES, EDINBURGH

THE PASSING OF
THE PRECENTOR

DUNCAN FRASER, F.E.I.S.

Precentor to the United Free Church (General Assembly

THE EMPTY DESK, BOSTON'S KIRK, ST

(Photographed specially for this book by MrM'Larcn, Jim.)

EDINBURGH: PUBLISHED AT
JOHN KNOX'S HOUSE, BY W. J. HAY

LONDON: SAMUEL BAGSTEK & SONS LIMITED
MCMVI

3181
Fl

126

PREFACE

IN this little book the writer is well
aware that he only touches the fringe
of a subject which by-and-by may
receive fuller treatment. His hope is
that, meantime, it may help to keep
alive the memory of the old method of
" Uptaking the Psalme " until that time
comes ; for, unless something regarding
the Precentor is put on record speedily,
both the man and his work will soon
be forgotten by a generation that has
not been distinguished for valuing either
of them too highly.

The craftsman of the Middle Ages,
whose conscience called for the highest
artistic skill in the unseen work rele-

PREFACE

gated to dark nooks, as well as in
the work exposed to the glare of
the sun and the gaze of the multi
tude, was not without his counterpart
in the ranks of the precentorhood,
who, with all their shortcomings and
mannerisms, did right loyal work in
the days when musical taste and sen
timent were at their lowest, alike in
pulpit and in pew.

The portraits embodied in this work
form a somewhat unique gallery of
musical celebrities, and the author
tenders his warmest thanks to the
friends who placed the original photo
graphs at his disposal. To Mr J. M. B.
Taylor, Curator of the Free Museum,
Paisley, his thanks are also due for per
mission to copy the portrait of R. A.
Smith in that institution.
vi

PREFACE

Some of the sketches in Part II.
appeared in T*he Weekly Scotsman, and
the writer acknowledges the courtesy
of the proprietors of that journal in
allowing their reproduction.

EDINBURGH,

1st December 1905.

VU

CONTENTS

PART I

OLDEN-TIME PRECENTING . . 3

Uptaking of the Psalm — Order of the
Service — Reading the Line — Time of
Decadence — A Revival — Scotland interested

PART II
PRECENTORS AND THEIR WORK . 29

R. A. Smith — John Templeton — John
Wilson— David Kennedy— T. L. Hately
— T. M. Hunter — Joseph Geoghegan, etc.
— Types of Country Precentors

PART III
LIGHTS AND SHADOWS OF PRECENTING 87

The Desk — The Gown — Innovations —
The Band — Personal Traits— Amateur Pre
centors

PART IV
CONCLUSION . . . . 1 1 1

The Power of Psalmody— The Old Order
changeth

IX

THE frontispiece is reproduced from Kay's
" Edinburgh Portraits," and depicts the well-
known non-church-goers of the day listening,
in the Tolbooth Church (portion of St Giles'),
Edinburgh, to Dr Alexander Webster — the
most evangelical preacher of the day. As the
precentor, Kay selected for his model John
Campbell of the Canongate Church, a notable
teacher of music in the city. Campbell was a
favourite pupil of the celebrated Tenducci, who,
on leaving the city, had Campbell's portrait
engraved and presented to his circle of patrons,
thus establishing Campbell, without his know
ledge, as his successor. He was for twenty-
five years precentor in the Canongate Church,
and Burns was a frequent guest at his table.
It was through Campbell that Burns secured
permission for the erection of the tombstone
to Robert Fergusson the poet.

PORTRAITS

CAMPBELL, Precentor of the Canongate Church
in St Giles' (after Kay)

Frontispiece

THE DESK, BOSTON'S CHURCH, ETTRICK

Vignette on Title

ROBERT ARCHIBALD SMITH . Facing Page 29

JOHN TEMPLETON ... ,, 36

JOHN WILSON ... ,,43

DAVID KENNEDY ... ,,48

THOMAS LEGERWOOD HATELY , ,, 52

THOMAS M. HUNTER . ,,54

DAVID STEPHEN ... » 57

WILLIAM M. MILLER . . „ 59

DAVID TAYLOR ... ,,63

LUDOVIC GRANT SANDISON . ,, 64

XI

PART I
THE PASSING OF THE PRECENTOR

The
Passing of the Precentor

THE passing of the Scottish precentor,
view it how we may, is not without an
element of pathos : it affects one like
the removal of an ancient landmark, or
" the end of an auld sang," as was said
of the Union of the Crowns. And such
things appeal to the Scottish nature ;
for, alongside of his sterner character
istics, there has ever lain a vein of senti
ment in the Scot, like the red thread
that is spun into the thickest rope of
the Royal Navy.

Before viewing the precentor under
the lights and shadows which our ar-
3

THE PASSING OF THE PRECENTOR

rangement of the subject may cast upon
him, it is necessary that we should first
glance briefly at the office and the
official as they are to be seen at the
time of their first institution.

ORDER OF THE SERVICE

In the Presbyterian Church of Scot
land at, and for many years after the
Reformation, public worship was divided
into two parts.

The first part consisted of Reading,
Praise and Prayer ; and the end of each
of these exercises was intimated by the
ringing of the kirk bell.

It was not until after the third bell
that the minister ascended the pulpit
and the sermon began.

In Knox's " Directory of Public
Worship " we can only find mention
4

THE PASSING OF THE PRECENTOR

made of two places where a psalm was
to be sung ; but when we remember
that singing occupied one third of the
time given to the first part of the ser
vice, it can easily be seen that music
occupied an important place in the
early Church worship.

The name given to the leader of the
singing in public worship at this time
was that of " Uptaker of the PsalmeT
This office was conjoined in many in
stances with that of the "Reader" and
in others with that of the teacher of
the "Sang Scule"1 — a very important
institution in Scotland in those days.

From a record of the " Burgh
of Canongate, Edinburgh," l5$4-> we

1 Sir Edward Henderson was the Master of the Sang
Scule of Edinburgh at the time of the Reformation, hav
ing been appointed in 1553 by the Town Council.

5

THE PASSING OF THE PRECENTOR

see how the offices were often con
joined.

" The quhilk day the bailies and
counsall has appointed and agreeit with
Walter Broune to serve in the kirk in
reading the prayers, Uptaking of the
Psalmes, and serve as ane Clerk in the
Sessioune."

In the " Second Book of Discipline,"
1581, the "Takers up of Psalmes" are
twice mentioned in the list of classes
entitled to receive a share of the re
venues of the Kirk. That this share
was not burdensome can be gathered by
reference to many Town Council or
Kirk-Session Records. Thus :

Aberdeen Burgh, 1577. "The said
day, the counsell grantid the sum of
four pundis to the support of James
Symsoune, doctour of their Sang Scuill

THE PASSING OF THE PRECENTOR

— to help to by him clothis, for his
guid service the tyrn bygane, and in
houp of his continuance in tym to

com/'

Or Glasgow Kirk -Session Records
for 1604 :

"... He that taks up the line in the
High Kirk to get 20 merks quarterly."

(A merk was 135. 4d. Scots, or i3^d.
of the present day.)

Also from the same Records : —

" A sark and a bonnet, and after
wards a coat, to be bought to him that
carries up the line in the High Kirk."

Stirling, 1621. "The quhilk day
the bretherin of the kirk, at desyir of
the Magistrates and Councell, consentis
to give David Murray, Musitioner, for
uptaking of the psalme in the kirk
and teaching of ane musick school in

7

THE PASSING OF THE PRECENTOR
this toun, xx merk yearly during his

service."

Extracts like the foregoing are to be
met with in abundance in Dr Living
ston's beautiful reprint of the 1635
Scottish Psalter, to which we would
refer anyone interested in a far-off view
of the monetary value of an " Uptaker
of the Psalmes " in the early Church
of the Reformation.

The first time that we find the term
" Precentor " applied to the leader of
psalmody in the Scottish Church is in
a Minute of the Glasgow Kirk-Session
of 1653, which says :

" To the precentor a quarter's salary
of 26 pounds, 13 shillings, and four
pence : and to a year's precenting in
the outer kirk, 40 pounds."

As a pound Scots is of the value of

8

THE PASSING OF THE PRECENTOR

is. 8d. sterling at present, there was
little chance of the precentor becoming
purse-proud.

The ecclesiastical term " precentor "
doubtless came from England. It is
derived from two Latin words : prte,
before ; cantor, a singer. The term
" Clerk " seems to have made a raid
across the Borders about the same time,
and has been found in one or two in
stances applied to the Uptaker of the
Psalme. A more sonorous title, as in
Dunfermline to this day, is that of
" Master of Song."

As early as 1587 there is to be seen
an entry in the Glasgow Kirk-Session
Records which looks somewhat like
the beginning of the Presbyterian Kirk
" baand." Thus :

" Ordean Mr William Struthers,
9

THE PASSING OF THE PRECENTOR

Teacher of Music, shall sing in the
High Kirk from the ringing of the
first bell, to the minister's coming in ;
and appoint four men to sit beside
him, beneath the pulpit."

In the year following there is an
other Minute :

" That the sangsters in toun sing with
Mr William Struthers on Sunday."

These sangsters were assistants, or
district teachers of music in connection
with the Sang Scule.

There is a greater advance towards
the development of the " band " to be
seen in a Record of the Stirling Kirk-
Session of 1621. An alteration of the
pulpit and the Reader's lectern had been
agreed to, and the Town Council direct
those in charge of the work to see : —

" That they mak commodious seattis

IO

THE PASSING OF THE PRECENTOR

about the fit thereof, meit for the
maister of the Sang Scule and his
bairns to sit on, for the singing of the
psalmes in the tyme of the holie ser
vice of the Kirk."

In a Minute of the " General Kirk of
Edinburgh" of 1574 we get a glimpse
of one of those little family tiffs that
sometimes arose between Kirk-Sessions
and the Uptaker of the Psalme.

" The Kirk ordanis Edward Hender-
soune and his sonne, to sing the psalmes
on the preaching days in sic touns as
are maist column (sic) for the Kirk/'

Later on we meet with another
instance :

"Edinburgh, 1619. Mr Patrick

Henrisone, reader, being summoned,

compeered before the Hie Commission.

He was accused for absenting himself

ii

THE PASSING OF THE PRECENTOR

from his owne place on Christmas day,
and placing another in his roume to tak
up the psalme. An act was made that
he should be deposed, if he did the
like hereafter : — against which act he
protested."

This Henrisone seems to have been
an independent type of precentor, for a
few years later we read of him being
finally deposed because he would not
use the Church Service-Book on its
introduction.

From the foregoing extracts, as well
as from other sources, we are warranted
in believing that the Uptaker of the
Psalme in the early Scots Kirk, whether
he was " Maister of the Sang Scule,"
or " Lettergae," or simple " Sangster,"
or all combined, was a singularly com
petent official, who did his work faith-

12

THE PASSING OF THE PRECENTOR

fully according to his knowledge and
the requirements of the time.

Moreover, there is abundant evidence
to show that psalmody was an import
ant element in Scottish Church life
until the time of the Westminster
Assembly, when it, and the precentor
too, got a serious check by the impor
tation from England of the custom of

READING THE LINE.

It is an old story now of how the
Scots longed for, and were willing to
sacrifice much on behalf of a Universal
Presbyterian Church. This attitude
accounts for many of the transactions of
the Westminster Assembly of Divines,
which otherwise would be inexplicable.
One of the enactments of this memor
able Assembly runs as follows : —
13

THE PASSING OF THE PRECENTOR

" That for the present, where many
of the congregation cannot read, it is
convenient that the minister or some
other fit person appointed by him and
the other ruling officers do read the
psalm, line by line, before the singing
thereof."1

The Scots Commissioners resisted this
proposal most strenuously, thinking it
a reflection upon the intelligence and
education of their people ; but eventu
ally, for the sake of peace and uni
formity, they acquiesced in the change.

The Scots custom of using doxologies,
or, as they were called, " conclusions,"
had to be given up at the same time,
although, again, the Scots Commis
sioners strove hard to preserve their
ancient custom, Calderwood saying : "I

1 Here we see the ludicrous effect of literal interpretation.
14

THE PASSING OF THE PRECENTOR

entreat that the doxologie be not laid
aside, for I hope to sing it in Heaven."

But this was not all, for in this craze
for uniformity the old versions of the
psalms had to go also, their place being
eventually filled by the version of
Frances Rous.1

The Scots people were at first very
bitterly opposed to these changes,
viewing the introduction of the " read-

1 Baillie and several of the other Scottish Commis
sioners to the Westminster Assembly of Divines in 1643
were strongly opposed to Rous's version of the Metrical
Psalms, preferring Rowallane's and other Scottish poetical
paraphrases to that of the English rhymster ; but their
scruples were overcome, and in January 1654 the Scottish
Committee of Estates ratified its amended form for use in
public worship; while the English congregations, for whom
it was really intended, neglected it, and even treated it
with scorn in many instances. It is still treated with
ridicule by many English people ; but it ought to be re
membered that it was in deference to English wishes that
the Scottish Church accepted this version, at the expense
of more delightful native effusions.

THE PASSING OF THE PRECENTOR

ing of the line " with special aversion, as
being not only unseemly, but an insult
to their better education. Yet by-and-
by, as interest in praise declined through
apathy and neglect, arid by the degrad
ing mannerisms that crept into the
service, succeeding generations began
to look upon the habit of " reading the
line " as a good old custom peculiar to
Scotland alone — a heritage to be dearly
prized, and, if need be, to split churches
rather than be given up !

There is no doubt that the changes
to which we have referred, along with
almost universal clerical apathy, did
much to injure the musical part of Pres
byterian worship in Scotland, and it took
the better part of the following century
to recover from the blow inflicted by
these and other adverse influences.

16

THE PASSING OF THE PRECENTOR

TIME OF DECADENCE

The period between 1650 and 1750
is singularly void of anything worthy
of note occurring in connection with
the music of the Scottish churches.
Our neighbours in England were enjoy
ing the fruits of a succession of musical
forces, culminating in Purcell, such as
the world rarely sees. But internal
dissensions, foreign invasion, episcopal
intrusion, clerical apathy, and twenty-
eight years of persecution, effectually
prevented any attention being paid to
this subject in music-loving Scotland.

We say music-loving Scotland, for
at this time poetry and song were as
popular as ever with the people. It
was with them as it is in the natural
world — you stem the course of one of
our hill streams as it speeds to the

B I7

THE PASSING OF THE PRECENTOR

valley below, and lo ! shortly, there
springs up upon your right hand and
your left, from the verdant mountain
side, pellucid fountains that will not
be denied freedom to discharge their
heaven-appointed mission !

So our people, denied an outlet for
their musical sentiments in the Church,
had to seek for it in secular song ; nor
did they seek in vain, for it is remark
able that when Church music in Scot
land was at its lowest ebb, national song
and lyric poetry were at full tide, com
prising amongst its forces not only the
prolific genius of Allan Ramsay, James
Thomson, William Hamilton of Ban-
gour, and Robert Fergusson, but such
a flood of musical sentiment as that ex
pressed by the minstrelsy of the Jacobite

movement.

18

THE PASSING OF THE PRECENTOR

A REVIVAL

Happily, there were potent influences
at work which by-and-by led to a re
vival of Church music all over Scotland.
" The Musical Society of Edinburgh "
had much to do with this change.
Formed in 1728, for more than seventy
years it took the lead in musical matters
not only in Edinburgh, but in all the
principal towns of Scotland. In the
late Robert A. Marr's excellent book,
" Music for the People," there is a
most interesting account given of the
work done by this Society ; and all who
wish to see the high point to which
musical taste and performance had at
tained in Edinburgh early in the eigh
teenth century will be highly gratified
by a perusal of this work.

Another factor in the progressive

THE PASSING OF THE PRECENTOR

movement of this time may be ascribed
to the genius of Handel, whose fame
had early spread northward, and whose
choral works, with their sacred themes,
were making a deep and lasting impres
sion upon the religious world.

As might have been expected, the
Church could not but feel in time the
stress of the musical forces which kept
beating against her walls, and we begin
to meet with evidence that she realised
something must be done to bring her
self more into line with the improved
musical sentiment of the people.

" Cornforth Gilson, a chorister of
Durham Cathedral, came to Edinburgh
in 1756 as master of music in the city
churches. The appointment arose out
of an Act of the Town Council dated
26th November 1755, when it was re-

20

THE PASSING OF THE PRECENTOR

solved that, owing to the ' very indecent
and offensive way in which Church
music was performed,' a master well
skilled both in the theory and practice
of Church music should be immediately
employed to teach in the city." The
scheme was comprehensive, and aimed
at giving everyone an opportunity of
learning to read music. With this in
view, several schools were opened and
conducted by precentors or teachers com
petent for the work, the whole being
under the direction of Mr Gilson.

Glasgow was also moved by the
rising sentiment, for we read in The
Mercury of 22nd November 1756 the
following notice : —

" By order of the Magistrates. To
encourage and promote the improve
ment of Church music, the Magistrates

21

THE PASSING OF THE PRECENTOR

have directed Mr Moor to open a free
school in Hutcheson's Hospital, on
Tuesday the 22nd inst., at seven o'clock
in the evening, when the inhabitants of
the city will be admitted and taught at
the public charge, on their producing
proper certificates of their character
from the minister and elders of the
parish where they reside."

Aberdeen and other towns also came
under the influence of the revival ; and
had the Church Courts been as anxious
to bring about improved singing as the
Civil Courts were, we might not have
had so long to wait for better times.

Coming to the beginning of the
nineteenth century, we find that there
was a considerable increase of the
musical societies of Scotland. The per
formance of the choral works of Handel

23

THE PASSING OF THE PRECENTOR

and other composers by the Edinburgh
Musical Society had made it necessary
that professional singers from the Eng
lish cathedrals, as well as from the Epis
copal churches in Edinburgh, should be
engaged in order to adequately render
them. But a knowledge of music was
now spreading amongst the wealthier
classes of society, and the larger towns
were feeling themselves less dependent
upon Edinburgh and London for artistes
to enable them to perform the works of
the great masters.

The choral societies which sprang
into existence at this time usually began
with psalm tunes and simple anthems.
The reason for this, doubtless, lay in
their lacking confidence to try loftier
flights ; but underneath it there was
also the conviction that there was little
23

THE PASSING OF THE PRECENTOR

hope for success unless the clergy were
propitiated. There is something almost
pathetic in the kind of inarticulate cry
for better Church praise which came
from all who laid any claim to the pos
session of musical taste at this time.
For instance, in 1810 the "Edinburgh
Church Music Society " was formed,
the object being " the improvement in
the principles and practice of vocal
Church music." Then in 1 8 1 4 a public
meeting was held in the City Chambers
of Edinburgh, when it was resolved to
establish the " Institution of Sacred
Music." The objects were generally
stated to be " the instruction of singers
in Church music and oratorios, with
the view of improving the musical ser
vice in the various churches in the
city."

24

THE PASSING OF THE PRECENTOR

SCOTLAND INTERESTED

This desire for improvement was not
confined to Edinburgh alone : Glasgow,
Aberdeen, Dundee, and other towns, by
Press and public meeting, were calling
for the music of the Church to be
brought more into line with the state
of efficiency which the art had attained
in general society.

But it was not until the spread of
education brought music teaching to
full tide that those changes in thought
and feeling came about which eventu
ally swept the precentor from the desk,
and floated the organ into the church.

Yet before this happened many trans
itions had to be passed through. Dr
Mainzer's " Singing for the Million "
had to become a reality of which his
numerous followers were but as first-

THE PASSING OF THE PRECENTOR

fruits. Hullah's " fixed doh " system,
or rather Whelim's system espoused by
Hullah, had to be pushed, and eventu
ally dropped. Curwen's easy, cheap,
and true Tonic Sol-fa system had to
spread over the land, and show the
staff singer the beauty and simplicity
of the " movable doh " ; — thus open
ing up a new era, when " singing for
the million " became not only a possi
bility, but an accomplished fact.

A glorious consummation surely ; but
before all this came about the precentor
was faithfully doing good work, with
meagre materials, and amid depressing
surroundings.

PART II
PRECENTORS AND THEIR WORK

ROBERT ARCHIBALD SMITH

(From a Print in Paisley Museum}

Precentors and their Work

WE fancy that nothing is better fitted
to show the position music had attained
in the Scottish Church than by simply
describing some of the notable men
who did valiant pioneer work during
the first half of the nineteenth century.

ROBERT ARCHIBALD SMITH

To no one does the Scottish Church
owe more — indeed, we might even put
the statement stronger, and say that to no
one does she owe so much — than to Ro
bert Archibald Smith— "R. A. Smith" as
he was familiarly called when his name

became a household word in Scotland.
29

PRECENTORS AND THEIR WORK

Although the child of Scottish parents,
Smith was born in 1780 in the town of
Reading, Berkshire, whither his father
had gone from Paisley, the trade of silk
weaving, at which he worked, being
dull in the latter place.

Smith's musical gifts early asserted
themselves, and when very young he
had taught himself to play on the flute
and the violin. His ear was more than
usually acute, and as a boy he accus
tomed himself to note down every bit
of melody that came into his memory.
This habit served him well when in
later years he was preparing his great
work, " The Scottish Minstrel."

Smith's family returned to Paisley

in 1800 ; and here it was that young

" R. A." made the acquaintance of

Tannahill, the setting of whose song,

30

PRECENTORS AND THEIR WORK

"Jessie, the Flow'r o' Dunblane," first
made him known to the world as a
musical composer. But we should
have to traverse a wider field than pre-
centing implies were we to speak of
Smith's secular compositions. They
are as varied as they are numerous,
and beautiful withal.

Smith was appointed precentor in
the Abbey Church of Paisley in 1807.
Being somewhat shy and very sensitive,
every appearance he made in "the
desk " caused him more anxiety and
perturbation than even his most in
timate friends were aware of, and it
was long before he could face his Sun
day duties with comfort. Working
away, however, with all his might,
he soon got together a well-trained
"band," which made the "soft" sing-
si

PRECENTORS AND THEIR WORK

ing of the Abbey Kirk famous all over
the west of Scotland.

The work Smith was doing in Paisley
soon reached the ear of Dr Andrew
Thomson, the minister of St George's,
Edinburgh, who was himself an excel
lent musician, and, after permission had
been given by the Town Council, the
worthy Doctor and his session invited
" R. A." to become their precentor.

To the metropolis, therefore, he
came in 1823 ; and from that time a
new era began in Church music. It
would be impossible to speak too highly
of Smith's varied gifts and his industry.
Teaching music from morn till night,
he yet found time to write sacred and
secular music that might have taken the
whole time of any man. In psalmody,
the " Sacred Music for St George's
32

PRECENTORS AND THEIR WORK

Church," which he wrote along with
his minister, is an excellent book ; and
such tunes as " Invocation " and " St
George's, Edinburgh " will hold their
own as long as the spirit of psalmody
lives in the Presbyterian Church. But
it was " Sacred Harmony for the
Church of Scotland " that made
Smith's name a household word all
over the land. Many psalters have
come and gone since " Sacred Har
mony " first saw the light, but it still
commands respect on account of its
excellence as a high-class compendium
of praise.

Then there were the " Congrega
tional Anthems." These were the
sheet-anchor of singing classes for more
than half-a-century ; and happy indeed
was the precentor and choir about the
c 33

PRECENTORS AND THEIR WORK

" sixties " when they could give a
public concert at which they rendered
"How beautiful upon the Mountains'
or "The Earth is the Lord's," by R. A.
Smith.

To the universal regret of his church
and the community this talented pre
centor and composer died in 1829, in
the mid-time of his days and the full
flood of his popularity and usefulness.
Beautiful tributes were paid to him by
Press and Church, and his name was
long affectionately cherished by all who
knew his worth. Paisley is proud of
Smith, as, indeed, it is of all its eminent
sons — and its claims are many — and has
in its museum his violin and many of
his manuscripts.

A few years after Smith's death a
stranger was standing beside " Mons
34

PRECENTORS AND THEIR WORK

Meg" in Edinburgh Castle, evidently
delighted with the grand scene pre
sented by the city and its sur
roundings. A gentleman addressed
him, remarking : " A splendid town,
Edinburgh." On which the stranger
looked at the speaker a moment, and
said : " Oh, guid enough ; but, tell
me this : What wad it be withoot
Paisley ? "

" How so ? " said the first speaker.

" Weel, ye see, it's no that I'm
a Paisley man mysel' ; but d'ye see
the College ? Weel, Professor John
Wilson's a Paisley man ! And d'ye
see St George's Kirk? Weel, R. A.
Smith was the precentor o't. And tell
me this," he concluded triumphantly,
" Whaur wad yer singin' hae been had
he no' cum' f rae Paisley ? "
35

PRECENTORS AND THEIR WORK

JOHN TEMPLETON

John Templeton, who became known
to the world as one of the most famous
vocalists of his time, began his musical
career as precentor in a Secession church
in Edinburgh, of which the minister
was Dr Brown, the father of the author
of " Rab and His Friends." Temple-
ton's connection with the Seceders
began in 1822, when he was just
twenty years of age ; but in spite of
his youth his voice was well set, and
its beautiful tenor quality drew large
numbers of strangers to the church to
hear such precenting.

The psalm tunes of those days were
not like those of the present, syllabic
chorales, but were florid and melodic,
and, as the older precentors used to say :
" They gied your v'ice a chance."
36

JOHN TEMPLETON

PRECENTORS AND THEIR WORK

Templeton made the most of his
" chance," and soon was advised to
make solo-singing his profession. There
was much head -shaking amongst the
worthy Seceders when their young pre
centor resolved to go to London and
study music with a view to operatic
singing ; but study he did, making his
first appearance on the stage in 1828.
His career as the leading tenor in opera
was brilliant, and his association with
Malabran and other great artistes
brought him fame and fortune.

But opera alone did not absorb his
talent ; he also gave splendid ballad con
certs and musical lectures. His beauti
ful singing of Scottish songs was one of
the most memorable features of his con
certs ; and it is as a brilliant exponent
of the songs of his native land that he
37

PRECENTORS AND THEIR WORK

doubtless owes his medallion memorial
at the south-west side of the Calton
Hill, Edinburgh, beside those of Wilson
and Kennedy.

Templeton retired from public life
when little more than fifty years of age,
and thus escaped the awful sense of
waning power which so often makes
the lives of eminent singers painful.
He enjoyed the esteem of hosts of
devoted friends, and died much re
gretted, so recently as ist July 1886, in
his eighty-fourth year.

Here are two precenting incidents in
Templeton's life, which, so far as we
know, have never been recorded.

It is told that, after he had become

famous as the finest tenor of the day,

he returned to Edinburgh for a short

holiday, and made a point of calling on

38

PRECENTORS AND THEIR WORK

Dr Brown — his old minister, then in
Broughton Place Church.

In the course of their conversation
Dr Brown said : " Oh, John, I wish you
would give us a day in the desk."
Templeton at once cordially complied
with the request, but stipulated that
the arrangement should be kept quiet.

Whether it was owing to the birds
of the air, or some equally unusual
agency making the matter known,
does not appear, but when Templeton
entered the " desk " the church was
crowded to the door. The service
began by Dr Brown giving out a psalm,
to which the famous singer took the
grand double common metre tune called
" St Matthew." Those who know
this tune will recall that the first part
is grand and inspiring, opening in C

39

PRECENTORS AND THEIR WORK

Major. The second part is equally
fine, modulating into A Minor. The
last two lines return to the original key,
and finish with a ring of triumph.

As Templeton soared through the
varying modes with his beautiful voice,
the congregational singing gradually
fell off until, when the second stanza
was reached, not a voice was heard
from the pews, emotion, or something
akin to it, bringing an impressive still
ness over all.

When the prescribed number of
verses had been sung, but before
Templeton could shut the book, Dr
Brown leaned over the pulpit, and
in his kindly voice, touched with
emotion, said : "Just go on, John ; just
go on ! "

Yes ; when voice and tune and spirit

40

PRECENTORS AND THEIR WORK

meet there is a magnetic power in
psalmody ; and certainly there is no
medium likely to call it forth quicker
than the fine example of Church music
which we have in Dr Croft's beautiful
"St Matthew."

We wonder what "Jeems," the door
keeper, thought of it all as he crooned
one of his six psalm tunes in the lonely
room at the top of a long stair in Loch-
end Close that Sunday night ?

Once when Templeton and Malabran
and several other eminent artistes were
touring in Scotland the stage-coach
broke down just as they neared Aber
deen. There being no help at hand,
and as the night was stormy, they were
glad to avail themselves of the shelter of
a farmhouse, which was kindly placed at
their disposal. Treated most hospitably
41

PRECENTORS AND THEIR WORK

by the farmer and his family, the storm-
stayed singers found the evening pass
pleasantly away.

When the hour for retiring to rest
drew near, the farmer said they " wad
tak' the Book." The foreign artistes
did not at once understand, but Tem-
pleton did.

" What psalm ? " he asked.

"Oh, we'd better tak' the lojrd."

So, having handed round books, the
farmer began the psalm to the tune of
" Coleshill." The family had most of
the singing to themselves in the first
verse, when suddenly the walls seemed
to open, and such a burst of harmony
filled the room as farmhouse never
heard before nor since.

Next morning as the strangers were
leaving they proffered some acknow-
42

JOHN WILSON

PRECENTORS AND THEIR WORK

ledgment for the hospitality that had
been shown them.

" What," said the farmer, " gie
money to us ! I dinna ken wha ye
are, but I'm far wrang if we've no'
been entertaining angels unawares."

JOHN WILSON

John Wilson, a famous precentor,
but a still more famous artiste, was born
at Edinburgh in 1800. Like many
other singers, he began life as a printer,
but while learning his trade he also
worked hard at the study of music.
He early became a member of the
choir of Duddingston Church, but soon
after was appointed precentor of Rox
burgh Place Relief Church. Here he
won golden opinions for his fine sing
ing, his voice being of remarkable

43

PRECENTORS AND THEIR WORK

compass, from B to B in Alt — two
octaves of pure tenor quality. Wilson
did not stay long with the Relief folk,
for in 1825 we find him appointed to
St Mary's Established Church, and also
leaving his trade, and devoting himself
wholly to the teaching of music.

While teaching others he still worked
hard to improve himself, taking lessons
in singing from the best teachers in
Edinburgh and London, and studying
harmony and counterpoint with eminent
masters. It is little wonder that such
an industrious and talented musician
should have made his precenting famous,
and have drawn large crowds to his
church.

In January 1830 Wilson left St
Mary's, having finally resolved to be
come a public singer. In March of

44

PRECENTORS AND THEIR WORK

the same year he made his first appear
ance on the Edinburgh stage as Harry
Bertram in Guy Mannering. This
is an interesting event, not for the
singer alone, but because Sir Walter
Scott was present at this, the first
performance of his dramatised novel.

Wilson appeared in London as chief
tenor in many operas ; but he never
forgot or neglected Scottish songs, and
at concerts the late precentor delighted
thousands by his tuneful rendering of
his native melodies.

For several years the two Scottish
lads, Templeton and Wilson, were
princes of song of all kinds, but north
of the Tweed their memories are
cherished chiefly as unrivalled ex
ponents of Scottish song.

When Queen Victoria visited Tay-

45

PRECENTORS AND THEIR WORK

mouth Castle in 1842, Wilson had the
honour of singing before her.1 Tours
by concert companies were common
at this time ; and Wilson's were famous,
visiting all the chief towns in this
country, and also those of America,
not a very easy matter in those days.

When in Quebec in 1849 Wilson
went angling one day, and got so soaked
with rain that he took a chill, from
which he never recovered, dying there
in the month of July, in his forty-ninth
year.

There must have been something
very magnetic about Wilson's personal
ity. We have more than once spoken

1 On this occasion, after Wilson had sung the songs
chosen by the Queen from his list, Her Majesty said :
" There is a song which is not on your list that I should
like to hear. Can you sing * Wae's me for Prince
Charlie ' ? " Wilson, fortunately, could sing it, and did
so, much to the Queen's delight.
46

PRECENTORS AND THEIR WORK

to some old friends about certain singers
of Scottish songs, and have had our
commendation cut short by the remark :
" I've heard John Wilson ! "

In a London drawing-room a lady
was singing a Scottish song very nicely
indeed. At the close of the first verse
an elderly gentleman was observed to
leave the room, and was heard later on to
frankly give as his excuse : " I've heard
John Wilson sing that song ! " It is a
pity that the old gentleman's hero wor
ship made him forget his manners.

The late Sheriff Watson of Aberdeen
remarked to the writer that he had asked
Wilson how it was that his songs were
always so fresh, although he must have
sung many of them a hundred times.
Wilson replied : " It is just because I
have sung them a hundred times."

47

PRECENTORS AND THEIR WORK

" Do you not know, sir," he continued,
" we never enter a town where we are
to give a concert at night but we
have a full rehearsal of our pro
gramme, although we may have given
every item at a concert the night
before."

A true artist was John Wilson,
whether as precentor in a Relief kirk
or as first tenor at Covent Garden — one
who knew there was no royal road to
success save the somewhat toilsome one
of taking pains.

DAVID KENNEDY

Another notable precentor in Edin
burgh was David Kennedy, the famous
Scottish vocalist. Before coming to
the metropolis he had been a precentor
in his native city, Perth, where his
48

DAVID KENNEDY

( /•><>/// a fiJiatflgrapli hy W. Crooke, Edinburgh)

PRECENTORS AND THEIR WORK

father and uncle had been precentors
before him.

The church that secured his services
was Nicolson Street United Presby
terian, and for the five years that he
held office his work was greatly appre
ciated. It was at this time that he
began teaching singing in schools and
congregational classes. He also was
conductor of the Tonic Sol-fa Choral
Union.

His manner as a teacher was very
genial ; he treated his classes much as
he treated his audiences in later years.
We know one person who will never
forget how, when there was some
doubt about his being admitted to a
certain church class, owing to being
" only a boy," he received an encourag
ing pat on the shoulder from Kennedy,

D 49

PRECENTORS AND THEIR WORK

with the cheery remark : " No, no, let
him stay ; he's not a bit too young ;
he'll maybe be a precentor yet — wha
kens ! " A prophetic remark, as it
turned out.

But precenting had to give way to
the fascination of the auld Scots sangs,
and the Scot at home and abroad got
what the Church lost. We learn from
Kennedy's memoirs, however, that " the
improvement of the musical services
of the Church was a matter he had
always at heart," and that " on his long
and arduous tours through Canada he
would lead the psalmody in the two
Presbyterian kirks on Sunday."

Kennedy's admiration for Templeton
and Wilson, his two great predecessors
as exponents of Scottish song, has al
ways seemed to us a very beautiful
50

PRECENTORS AND THEIR WORK

feature in his character, and his kind
ness in restoring and making arrange
ments for the upkeep of Wilson's
tombstone in Quebec Churchyard is
in the highest degree noble. David
Kennedy died at Quebec in 1886,
greatly mourned by Scotsmen in all
parts of the world.

We confess that we have always
been most impressed by the marvellous
pluck and industry of Templeton,
Wilson, and Kennedy, even while ad
mitting and admiring their talent.

" The heights to which some men have reached

Were not attained by sudden flight ;
But they, while their companions slept,
Were toiling upward in the night."

THOMAS LEGERWOOD HATELY

was another notable printer-musician.
51

PRECENTORS AND THEIR WORK

In early life he was a member of
R. A. Smith's choir, and afterwards
held the office of precentor in North
Leith and St Mary's (Edinburgh) Es
tablished churches.

At the Disruption in 1843 ^e ^c^
the Established Church, and led the
singing at the first Free Church
General Assembly — continuing to do
so at each Assembly for twenty-three
years.

He is distinguished for the com
position of several popular Church
tunes and as a successful teacher of
congregational classes. He was held
in high esteem by all who knew
him. His death took place in
I867.1

1 As Mr Walter Hately intends writing at length re
garding his father's work it is unnecessary to expand
these notes at present.

52

T. LECJEKWOOI) HATELY

PRECENTORS AND THEIR WORK

WALTER STRANG

was another famous precentor with a
fine tenor voice. Besides being widely
employed as a teacher of music, he
held the post of leader of praise to
Free St George's Church from 1848-
1885. He was also precentor to the
Free Church General Assembly from
1867-1889.

Strang had the gift of melodious
composition, but his many engagements
restricted its exercise. Publicly and
privately he was much esteemed.

JOSEPH GEOGHEGAN

Lecturer on Music at the Established
Church Training College, Edinburgh,
was a precentor whose duties merged
into those of the choirmaster. His
work and that of his colleague, Mr R.
53

PRECENTORS AND THEIR WORK

S. Riddell, in Old Greyfriars Church,
along with Dr Lee at the beginning
of the Organ Crusade, marks an im
portant epoch in Scottish Church music.
Holding many important appointments
in school and college as a music master,
Geoghegan led a busy life, and was
widely known and appreciated. His
memory is kept green by a flourishing
musical club, which bears his name.

THOMAS M. HUNTER

was one of the most notable precentors
of his time. Striking in appearance,
light of foot, it was almost impossible
to meet him on the street without con
cluding that he was no ordinary man.
His school and private work might
have proved too much for most men,
but he got through it with ease, and to
54

T. M. HUNTER

PRECENTORS AND THEIR WORK

the end his fine tenor voice retained the
quality and power that it had when
first he appeared in the Music Hall as
tenor soloist in Handel's oratorio of
" Samson."

As precentor of Rose Street United
Presbyterian Church, Edinburgh, he
was very popular and painstaking, and
the congregational singing long retained
quite a distinctive character.

Pressure of engagements prevented
Hunter, like many others in his profes
sion, from fully exercising his talent for
composition, although many of his
school songs are popular.

J. CAMPBELL GRANT

was a well-known precentor and singing-
master in Edinburgh. His first church
was Lady Yester's Established ; and

55

PRECENTORS AND THEIR WORK

thereafter, for twenty-five years, he led
the singing in Lothian Road United
Presbyterian Church. He was also
a very good exponent of Scottish
song, and lectured frequently on the
subject.

It is impossible within the limits of
the present work to do more than men
tion the names of a few other precentors
in the eastern district, who, with those
already given, " have finished their

course "

Gleadhill, Kenward, Palmer, John
and George Bishop, W. Templeton,
Hutton, Hume, Ramage, Ebsworth,
Darling, Heriot, Kerr, Cairns, Wilson
of Dalkeith, and Ross of Kelso.

" Dundee's wild, warbling measures "
have never lacked exponents in the
56

DAVID STEPHEN

DUNDEE

PRECENTORS AND THEIR WORK

town which bears that name ; and,
without giving offence to the memory
of many worthy musicians, we may be
allowed to single out the late

MR DAVID STEPHEN

as one of her most typical precentors.

Born in the year 1823, in the parish
of Panbride, Forfarshire, and being
possessed of a very fine tenor voice,
Stephen at an early age was found lead
ing the singing in one of the Carnoustie
churches. Upon leaving the country
he came to Dundee to settle. For a
short time he was precentor to St Peter's
Church, but soon transferred his ser
vices to Free St Paul's Church, then
just formed, where he continued to pre-
cent until his death in 1879.

In early life Stephen was in great
57

PRECENTORS AND THEIR WORK

demand as a soloist at concerts, etc.,
but as music was not his sole profession
his musical talents were latterly exer
cised almost exclusively on behalf of
Church work.

His congregational choir and musical
association were noted for their excel
lent training, and their work, along
with that of their conductor, was an
important factor in advancing congrega
tional singing in Dundee.

In his excellent work, " Scottish
Church Music," Mr James Love has
some interesting remarks about several
Scottish composers who were also pre
centors. While it is obvious that we
cannot present an anthology of all
the famous tenants of the " desk " in
Glasgow, yet we desire to record
the names of a few familiar to the
5*

WILLIAM M. MILLER

GLASGOW

PRECENTORS AND THEIR WORK

churches who are treated at greater
length by Mr Love : —

James Merrylees ; James Allan ;
William Broomfield, composer of " St
Kilda " ; Neil Dougall, composer of
" Kilmarnock " ; Robert Simpson, com
poser of " Balerma " ; Hugh Wilson,
composer of " Martyrdom " ; Henry
Boyd ; William Brown ; Alexander
Duncan ; John M'Lauchlan ; James
Steven.

WILLIAM M. MILLER

William Mackie Miller, born 1831,
was a distinguished teacher of music
and a successful precentor. As an
ardent exponent of the Tonic Sol-fa
method, he took a leading place in
Glasgow and the west of Scotland, and
did much, by classes and school song-
59

PRECENTORS AND THEIR WORK

books, to spread a knowledge of music
in the community.

He also rendered invaluable service
as a Music Superintendent of the
Glasgow School Board. Miller gave
up precenting on being appointed
Musical Inspector for the Church of
Scotland.

Few men led a busier life, and his
death left a blank difficult to fill.

If the honoured veteran, William
Carnie of Aberdeen, Editor of the
" Northern Psalter," should give us his
reminiscences of the famous precentors
of the north, what an interesting book
it would be ! Until that desirable
piece of work is done, we venture to
mention a few of Aberdeen's famous

precentors.

60

PRECENTORS AND THEIR WORK

JOHN SIVEWRIGHT

was not only a notable precentor, but
also a celebrated itinerant teacher of
psalmody when the revival of the art
took place in the latter half of the
eighteenth century.

A local skit written more than one
hundred years ago, regarding some of
his doings, is still popular.

"In the year o' 1794,
When Hielant John the hills came o'er,
He taught them a' to gape and glower,
And sing the tunes in Fordoun."

He does not seem to have been al
ways successful, however, for one of his
pupils came to grief one day, when —

" Up startit then the bricht Dunbar,
Instead of better, he did waur,
An' a' the singing he did mar,
And lost the lines in Fordoun."
61

PRECENTORS AND THEIR WORK

Of a different type was another of
Aberdeen's famous precentors —

WILLIAM MAXWELL SHAW.

He was a pupil of Urbani, and a
frequent performer at the concerts of
the Musical Society of Edinburgh about
the close of the eighteenth century.
More, doubtless, would have been heard
of Shaw had he not removed to America
in 1805, where he died after a residence
of only a few months.

Regarding his precenting, it has been
said :

" His manner of singing the psalms
was characterised by a fine simplicity,
blended with sparing ornament ; and
his taste was so much admired that the
congregation accompanied him very

softly, that they might be able to hear
62

DAVID TAYLOR

(Front a photograph by James Ewing, Aberdeen)

PRECENTORS AND THEIR WORK

his beautifully round and manly voice,
which appeared to fill the church
without any exertion or disagreeable
loudness."

In addition to the foregoing, we
would present two typical examples of
the nineteenth-century Aberdeen pre
centor, from notes supplied by Mr
William Litster, himself a popular
teacher of music in that city.

MR DAVID TAYLOR

was precentor of Free Trinity Church
for seventeen years (1857-1874). He
was an enthusiastic musician and took
a deep interest in the marvellous wave
of musical progress that swept over the
city during his term of office.

Although neither a professional
musician, nor a teacher of classes for
63

PRECENTORS AND THEIR WORK

the people, he made a high reputation
for the manner in which he trained his
own church choir.

Mr Litster, who succeeded him in
1874, speaks in the highest terms of
his work.

MR LUDOVIC GRANT SANDISON

was leader of the old historical church
of Greyfriars, which was taken down
to make room for the University build
ings. He held this office for twenty-
eight years (1856-1884), and practically
died at his post, being but a short
time ill.

Besides Church work, he carried on
numerous public classes, which did
much to make music popular with the
people. Indeed, " Sandison's Classes "
were household words in Aberdeen
64

L. G. SANDISON

(From a photograph by A. Adams, Aberdeen)

PRECENTORS AND THEIR WORK

about the "seventies." He was the
kind of man whose personality and
work commands respect, and we are
not surprised to learn that the late
Rev. John Curwen, of Tonic Sol-fa
fame, held him in the highest esteem.

These have all joined " the choir
invisible," but even the very mention
of their names helps to show what a
splendid race of capable men many
of the old precentors were.

The Scottish organist has, in most
instances, still got his spurs to win.
We can only hope that as the years
roll on, a race of native players will
arise, as zealous and as capable in the
new methods as the occupants of the
desk and the leaders of the band were
in the old.

PRECENTORS AND THEIR WORK

THE COUNTRY PRECENTOR

So far, we have been drawing our types
of precentors from the town, as it would
require a larger canvas than we have
allowed ourselves to portray all the
men who in the north and west were
equally helpful to the churches.

The rural precentor was unique ; but
in many provincial towns there were
precentors possessing good voices who
filled the desk creditably, and who
frequently found their way to large
town churches, where a precentorship
often carried with it the appointment
to a good job in an office or a factory.
Sometimes, both in county town and
rural parish, precentors were difficult
to get. In such cases certain failings
66

PRECENTORS AND THEIR WORK

in a possible candidate were often
winked at. It was like the case of
the old Scottish lady of bygone days,
who, when cautioned about a certain
applicant for the position of cook in
her house, exclaimed " Character !
What care I aboot her character ?
Can she mak' collops ? "

So with church managers. It was
often : " Never fash your head what
he is. Can the lad sing ? "

In country districts many a good
voice held forth and gave loyally of
its best, receiving small encouragement
in the form of fee from either heritors
or people. When the schoolmaster
could sing he often added the duties
of the desk to his other offices, but
often the minister had to lead the sing
ing himself. Sometimes a yearly col-
67

PRECENTORS AND THEIR WORK

lection, taken up in the ladle, was all
the payment the precentor got ; and we
have known many instances where men
walked long distances to precent in cer
tain churches for £3 a year, grudgingly
doled out.

There is a district known to us
where the precentor received a suit of
clothes once a year instead of wages.
The poor man was sorely distressed as
the time for sending round the ladle
drew near. When the fateful Sunday
came, and the minister intimated that
the collection would now be taken to
provide John with a suit of clothes,
poor John could stand it no longer, and
shouted out : " I tell't ye I wadna hae
it ! I teirt ye I wadna hae it ! " and
rushed out of the desk, never to return.

Alwavs interested in matters pertain-

68

PRECENTORS AND THEIR WORK

ing to Church praise, I have ever been
in sympathy with the precentors who
loyally served the cause in lonely places
and amid cheerless surroundings. The
following character sketches may in
troduce some typical examples of the
worthy men whom the writer has met
in such circumstances ; and in speak
ing of them the use of the personal
pronoun may be pardoned.

A VILLAGE PRECENTOR

My first impression of what precent-
ing really was came upon me in a
village church which we attended when
the summer vacation set the younger
members of the family free from school.
It was in those days of lang, lang syne,
when skies seemed ever blue and birds
seemed ever singing.
69

PRECENTORS AND THEIR WORK

The worthy man who filled the
" desk " held several offices, one of
them being that of village postmaster ;
but it was when leading the singing
on Sunday that he appeared in his
greatest office and in his fullest glory.
The impression made on my mind
then was that precenting must be
a somewhat painful occupation. The
strange contortions of knitted brow,
twisted mouth, and staring eyeball
could only arise from some such sensa
tion ; whilst the sounds which accom
panied these actions were suggestive of
anything but calm enjoyment.

And yet he could unbend and be
come wonderfully familiar with some
chosen crony as they made their way
homeward by the kirk loan. Johnnie
Burton even reported to some of us at
70

PRECENTORS AND THEIR WORK

the damside one day, that he had
heard Mac tell the beadle that he was
" in wonderfu' v'ice last Sunday." But
this act of condescension was never fully
proved; besides, Johnnie had the reputa
tion of being given to "romance" a bit.
The conduct of two or three boys
in the sparsely filled back gallery was
a sore trial to our friend of the desk,
and I often passed the whole forenoon
wondering what would happen if he
were really to leave his seat and take
them into custody. Visions of dark
cells below the church, where such
offenders were said to have been con
fined, were often before me. So also
they seemed to be with a pale-faced
lad who sat in the minister's pew on
Sundays, but who on week-days used
to join us in the absorbing sport of
71

PRECENTORS AND THEIR WORK

minnow-fishing in the dark, still pools
of the Water of Leith. But this pale-
faced boy was no ordinary visionary,
and he is now known to the world as
Robert Louis Stevenson.

It is needless to say that there is no
desk in that village kirk now. Yet to
some of us the place is all the poorer
for the absence of Mac and his desk
and the pale-faced boy in the minister's
pew.

A YARROW PRECENTOR

The worthiest type of the good old
country precentor I have ever met was
M., the Cappercleuch schoolmaster.
Far in the heart of Selkirkshire there lie
the Yarrow kirks. For forty-two years
M. trudged on Sunday from Capper
cleuch to the kirk down Yarrow and
72

PRECENTORS AND THEIR WORK

home again — a distance of fifteen miles
— and few indeed were the days that
found him absent. Precentors are very
fond of — well, not praise, but approba
tion. I remember being with Pro-
sessor Blackie when he told M. — every
word being accented by a thump of his
famous big stick — " that people needed
to come to the country to learn how
the Psalms of David should be sung."
M. lived upon these words for many
days.

Our friend was an elder of the Free
Church, and sometimes came as a re
presentative to the General Assembly.
The last time I saw him there was on
a field-day at the Declaratory Act time.
Near the Moderator's chair, on either
hand, are seats usually given up to
ex- moderators and other prominent

73

PRECENTORS AND THEIR WORK

members. On this occasion, just in
the middle of the second seat on the
right, sat M., his homespun grey suit
making him very conspicuous among
so many black coats. But never man
gave more attention to a debate, not
a word was missed, and until the
adjournment came he never moved.
When I saw him in the autumn
of that year, he said : " Of a' the
seats in the house, yon's the one I
like best, and I aye tak' it when
I'm up."

Worthy man ! if service to the
Church entitled a man to any par
ticular seat, he deserved a front one.
He now rests in St Mary's Kirkyard,
by the lonesome loch he loved so well,
and the district is all the poorer for his
loss.

74

PRECENTORS AND THEIR WORK

THE PRECENTOR OF BOSTON^ KIRK

In the neighbouring valley of Ettrick,
a few miles to the south of Yarrow, is
to be found the kirk of Thomas Boston,
author of " The Fourfold State," " The
Crook in the Lot," etc. Here for
many years Andra M. filled the office
of precentor. Twenty miles from the
nearest railway station, it can easily be
understood that he had few compeers,
and no rival. The first time I heard
Andra precent was when we were
holidaying in the valley twenty years
ago. Seldom have I heard a finer
natural voice anywhere — high tenor,
with a singular quality that thrilled the
ear at once — perhaps the rich accents
of the Borders making it act all the
quicker.

Like most of us, Andra had his foibles,
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PRECENTORS AND THEIR WORK

one of them being a proneness to resent
any participation in the praise by out
siders. I usually managed to smuggle
in an obligato tenor to the high treble
of the " desk " ; but one day a friend
was with me who assisted with a sort
of " Methody " bass. This was more
than Andra could stand, so the next
tune was set " up to Kew," as my
friend remarked, with the result that
both of us were silenced.

If Andra's range of tunes had been
at all in keeping with the range of his
voice he would have been unrivalled ;
but, unfortunately, he knew only seven
or eight psalm tunes, and had no means
of adding to his collection, for he could
not read music, and could not trust his
ear in psalmody, although in song sing
ing he was the best in the parish.
76

PRECENTORS AND THEIR WORK

Many a time the minister's wife got
him to come to the Manse to practise
a new tune, and after he seemed to have
thoroughly mastered it a Sunday would
be set for its introduction. On the
morning of that day, however, Andra
would invariably appear quite dowie
and distraught, saying he " hadna slept
a wink a' nicht," and he " didna think
he wad try that new yin the day."

A few years ago we were again
staying in Ettrick. The precentor had
been long speaking about paying a visit
to a son in Moffat " if he could get
somebody to tak' the dask." It was
suggested that on one particular Sunday
I might be asked to do duty, and so
relieve him. This I would only con
sent to do with the distinct approval of
Andra, and such a delicate matter re-
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PRECENTORS AND THEIR WORK

quired a good deal of diplomacy ; but
eventually all was arranged.

On the Saturday afternoon previous
to the Sunday in question we were
angling up near the source of the
Ettrick, in that beautiful glen where,
as tradition has it, " Will o' Phahope
saw the fairies." It was one of those
autumn days that in a pastoral region
intensify solitude. Sunlight filtered
through a gauze-like atmosphere ; there
were fitful puffs of wind that did not
blow fifty yards ; insect life there was,
without motion, but not without sound,
for from populated reeds and grasses
there arose a tremulous hum as from
faint aeolian harps hidden at their roots ;
while the wild bird's fitful cry and
the distant waterfall's alternating sound,
completed the slumbrous diapason. At
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PRECENTORS AND THEIR WORK

such a time action is impertinent : you
can only lie upon your back among the
heather, and, with your eyes in the lift,
see visions.

We were recalled to life by seeing a
real figure crossing our line of sight,
for far up the slopes of Bodesbeck
Law a pedestrian seemed to be work
ing his way towards the bridle-path
that leads to the head of Ettrick.
Who could he be whom Fate had
destined to climb mountains on such a
day ? We had begun to weave a nice
little history for him of the Wandering
Jew, Ancient Mariner, Rip van Winkle
order, when a voice hailed us far up
the heights : " Hey ! d'ye ca' that
fishin' ? "

It was Andra ! Good man, the
thought of an interloper in the desk
79

PRECENTORS AND THEIR WORK

next day was too much for his loyal
soul, so, despite the attractions of
Moffat and the persuasions of his son,
he was making for home by the short
est cut in order to defend his post.

The following (Sunday) morning we
were making our way leisurely up the
kirk loan when we saw Andra standing
at the Manse gate. He accosted us
without a smile, as if his reception at
the Manse that morning had been
somewhat cool, and in answer to my
" Good - morning, Andra," he simply
extended his arm, saying : " There's the
psaums."

"No, no, Andra," I replied; "we
are all too glad to see you back again."

" Aweel," he said, still holding the
list out to me, " there's only twa psaums
and a paraphrase, and," he added doubt-
So

PRECENTORS AND THEIR WORK

fully, " ye — ye'll maybe manage to get
through ! "

The auld kirk bell of Ettrick seemed
suddenly to jangle out of tune as we
slipped quietly to our pew in a
thoroughly meek and chastened spirit.

The introduction of hymns was a
sore trial to Andra ; but the present of
a fine American organ by a native of
Ettrick now exiled in London brought
his reign to a close altogether. To-day
the well-worn " dask " is empty, and
Andra's grand voice is silent.

AN ISLAND PRECENTOR

It is a far cry from Ettrick to
Unst, the most northern island of the
Shetland archipelago. Some years ago
we were on holiday there for two or
three weeks, and had the pleasure

F 8l

PRECENTORS AND THEIR WORK

and privilege of becoming acquainted
with many of the people and all the
ministers of the district. One Sunday
evening we were sitting in the back
pew of Hillside Free Church when
the beadle came along the passage,
and in a loud whisper told me that I
was "wanted in the vastry." I said
something about coming " at the close
of the service " ; but the messenger was
obdurate : " Ye're wanted the noo."
There was nothing for it but just to
follow "Jeems" down the church,
under the eyes of the whole congrega
tion, with as much dignity as one could
summon to his aid on such short notice
— and with the consciousness that a
light-coloured Norfolk suit was not the
most clerical attire even in Unst.

In the vestry I found the minister
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PRECENTORS AND THEIR WORK

and two of the elders, also " Geordie,"
the precentor, who stood beaming upon
the party, and clasping tightly to his
closely buttoned pilot jacket a well-
worn psalm-book. Without a moment's
delay the minister began as follows : —

" I am sure it would give you life
long gratification to be able to say
that you had led the praise in the
most northern church in the British
dominions ; will you, therefore, sing for
us to-night ? "

" But what will Geordie say ? " I ven
tured to remark, turning to that worthy
official as he beamed on all around.

" It is Geordie's strong desire that you
should do so," was the reply.

" Ay, deed is V said our friend ; " for,
ye see, I never get a day aff ava, an'
never hear a strange v'ice."
83

PRECENTORS AND THEIR WORK

There was nothing for it but to
comply, for what is the use of trying
to explain that even a singing master
sometimes needs a rest ?

At the close of the service we were
all mutually pleased, for a slight novelty
is welcome where routine is unbroken.
Geordie was noble and generous
throughout.

" Oh, you'll do as much for me some
day," I said in answer to his thanks.

" An' that I wull ; the first time I'm
in Scotland I'll gie ye a day ! "

I have been told that Geordie
always means what he says, and keeps
his word.

PART III

LIGHTS AND SHADOWS OF
PRECENTING

Lights and Shadows of
Precenting

THE DESK AND THE GOWN

To many people, especially young
people in Scotland, the precentor's
pulpit-desk, or " dask " as it was called
in country districts, is quite unknown.
Even the minister's pulpit is rapidly
being demolished, and an elevated plat
form is taking its place.

The desk was very small and narrow,
and clung like a limpet to the main
pulpit ; a tall man often could not stand
upright in it because of the minister's
book-board projecting overhead.
87

LIGHTS AND SHADOWS

This often allowed of whispered
communications between preacher and
singer. Thus, when a bad cold was
troubling the precentor, and he had
to sit down before the somewhat long
piece of the psalm that had been given
out was done — "John, my man, hoo
d'ye expect to sing through a' eternity
when ye mak' sic a wark aboot singing
a wheen extra verses o' a psalm?"

"James," said a worthy of the homely
type to his precentor, who was strug
gling amid the shoals and quicksands
of a minor tune one Sunday morning,
" James, what ails ye ? " " Oh, sir,
A'm sair troubled wi' a wee bit
kitlin' T ma throat this mornin'."
" Kitlin, did ye say ? it sounds mair
like a' auld full-grown cat."

LIGHTS AND SHADOWS

" Tammas, my man, the words that
King Dauvid's askin' ye to sing say
you are to ' shout loud for joyfulness/
but instead o' that ye're giein' us a
screed o' the Lamentations o' Jeremiah."

The precentor often wore a gown,
invariably an old one ; for the gown
seldom belonged to the man, but only
to his office, and the threadbare gar
ment had to serve two or three genera
tions of officials.

At the examination of candidates for
the precentorship of a country church,
the former officer gave a little variety
to the proceedings by entering the
vestry and demanding his " goun "
from the committee. He strengthened
his demand by saying that it was his

" faither's " — who really had been the

89

LIGHTS AND SHADOWS

precentor once — and that he had only
got the loan of it.

The matter was not settled in our
presence at the time, nor for many a
day after, the Session's plea being that
the gown had been given to the office,
and not to the man. Eventually, how
ever, they could not well answer the
argument of the claimant : " When oor
last minister left, did he no' tak' his
goun wi' him ? " And so, to avoid the
gossip of the parish, the gown was
given up.

The primitive life in many districts of
Scotland led to much freedom and plain
ness of speech amongst all classes, and
not least amongst minister and people.
Thus — " I see I hae forgotten my ser
mon ; and ye micht jist wrastle awa'
90

LIGHTS AND SHADOWS

wi' the 1 1 gth Psalm till I rin ower to
the manse and see if I can find it."

There is something quaint in the
following triple reproof —

" Tammas Scott, if ye're awake ye
micht wauken the beadle, and tell him
to wake up the precentor.''

" My freens," said a worthy minister
in the north to his people, solemnly
assembled to decide upon a new list of
psalm tunes to be used on Sundays in
church ; " my freens, you may fix on
ony tune you like. E'en sing c Doun
the burn, Davy, lad ' — and ' I will
follow thee.' '

A liberal treatment, very different

from that expressed by the good old

woman in similar circumstances —

" Awa wi' your fal-de-rals ! IVe

91

LIGHTS AND SHADOWS

sung naething but the Psaums o'
Dauvid to the tunes o' Dauvid a' my
days, and I'm no gaun to change

noo."

INNOVATIONS

The making of mountains out of
mole-hills is a process some people
might patent. I remember seeing a
precentor, who was a bit in advance
of his time, appear in the desk with
a pitch-pipe, and give the key-note by
its aid. This pipe is an ingeniously
contrived little brass tube, so regulated
that it gives forth a sort of toy-trumpet
sound when blown by the mouth. The
amazement of the congregation was
something to remember when the
" twa-a-a-ng " of the pipe ran through
the church, and the visible wrath of
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LIGHTS AND SHADOWS

the venerable elders who sat in the
Session seat boded ill for the tenant
of the desk.

At the close of the service the rash
innovator was handled tightly, and
commanded to " blaw the thing again
in oor kirk " at his peril.

The precentor I speak of was really
a good singer, else it would have gone
hard with him shortly after this, when
he was seen to be taking his key-note
from a tuning-fork with a sliding bar
that rested at the place marked for
each key.

" We'll hae Maggie Lauder next,"
said one incensed individual — a remark
just about as relevant to the action as
many an objection to a similar innova
tion has been.

" Pitch " forks have always been

93

LIGHTS AND SHADOWS

stumbling - blocks to the unwary.
" Tammas," said the Auld Kirk pre
centor in a village in the south to
the carrier who acted as messenger for
the valley, " Tammas, I wish ye'd ca'
at the ironmonger's when ye gang to
the toun, and bring me a new pitch
fork for Sunday."

The carrier duly took note of the
commission, and the next Sunday, as
the folk were gathering in the kirk-
yard previous to the service, he was
seen coming hastily up the loaning
with a six-foot-shanked pitch-fork over
his shoulder, and muttering something
about " breakin' the Sawbath for this
new-fangled nonsense ! "

That old woman must have been
related to the carrier who, when first
she saw a stranger in the desk use a

94

LIGHTS AND SHADOWS

tuning-fork, exclaimed : " Ye villain,
wud ye use cauld steel in oor kirk ! "

As we have already indicated, the
" reading of the line " was a frequent
cause of irritation to the more cultured
in the congregation. Yet their irrita
tion was nothing in comparison to that
of those who objected to its discon
tinuance.

John Wilson himself, when obliging
a clerical friend with whom he was
staying in Old Kilpatrick by taking
the desk on the Sunday, brought down
the displeasure of the orthodox upon
his head by omitting to read the line.

At the close of the forenoon service
he was accosted by one of the elders :

" Sir, are ye gaun up yonder in the
afternoon ? "

" Yes ; I intend so."
95

LIGHTS AND SHADOWS

" Then, sir, ye maun read the line.
Nane o' your Edinburgh tricks here ! "

More characteristic, if not more
emphatic, was the old woman, of
whom Dr Chalmers used to speak,
who was opposed to the abolition of
the reading of the line on Scriptural
grounds.

Being asked to give chapter and
verse, she at once replied : " What
says Isaiah, Doctor ? — ' Line upon line,
line upon line ; here a little, and there
a little."

No one could enjoy this quaint
exegesis more thoroughly than the
wise and tolerant Dr Chalmers.

THE BAND

When the Edinburgh Musical Society

ventured to introduce some of the choral
96

LIGHTS AND SHADOWS

works of one " Mr Handel " into its
programmes, the directors said that
they would have " a proper band for
the choruses." "Choir" or "Chorus"
is the name given to such singers now
adays ; but for the last hundred and
fifty years the " band," with all sorts
of accents upon the vowel, has been the
familiar name for any united number
of chorus or part-singers in Scotland.
In provincial and rural churches the
precentor reigned supreme, and bands
were looked upon as amongst those
mysterious and dangerous things that
are supposed to lurk about big towns.
Even the educated classes did not
unanimously welcome the improve
ment in psalmody effected by the
" bands."

The Earl of Haddington was at the
G 97

LIGHTS AND SHADOWS

Assembly Service in St Giles' on one
occasion — St Giles' was the first church
in Edinburgh where a choir was in
troduced — and when the psalm was
given out, and no voices sang it but
those of the choir, he turned round
angrily to a minister who was sitting
behind, and said : " I came here to
praise my Maker, and not to hear a
concert."

Choirs, or " bands " as they were
called, have certainly done splendid
work for the churches without fee or
reward, and it will lead to a serious
state of affairs should the advent of
the organ give church managers the
impression that they can now afford
to slight the band. When the " pas
sing of the band " comes to be written

it will be found that, as in the desk,
98

LIGHTS AND SHADOWS

there has been many a humorous in
cident within the choir seat. Mean
time we shall keep to the precentor,
simply lifting the choir veil a little
in passing by, recalling the mysterious
remark of a country choirmaster : " Oh
ay, we've great satisfaction wi' oor
band till it comes the time o' the
spring bannets ! "

The reader may have leisure some
day to ponder over the hidden mystery
that underlies these words.

Just another word about the choir.
We have heard the following incident
quoted as a clever and faithful rebuke
administered to his choir by a preacher
when they had introduced a new tune
into the services : — " The choir hav
ing just sung to their own praise
and glory, let us now sing to the
99

LIGHTS AND SHADOWS

praise and glory of God in the 65th
Psalm." Which he forthwith led off
to a familiar tune.

We fail to see where the point of
the rebuke lies. To speak thus about
voluntary workers where no on« could,
or was at all likely to retort, was
neither clever nor faithful ; on the
contrary, we consider it splenetic and
ungentlemanly.

The late Rev. Dr Charles J.
Brown was wont to say, in a very
different spirit from that of the fore
going divine : " Yes, the old tunes
are good, very good ; but — they are
not inspired to the exclusion of other
Psalters."

Sympathy and a keen sense of
humour often save the situation in
church as in other matters.

100

LIGHTS AND SHADOWS

The late Rev. William Jamieson,
when minister of the Tron Church,
Edinburgh, used to tell that in his first
charge in Fife he found the singing
very bad. Still, he did not despair ;
and by attending the practices, and even
helping the precentor to get some
training in voice production and the
theory of music, he had the satisfaction
of having the Church praise greatly
improved.

Those who remember Mr Jamieson
don't require to be told that he was a
most attractive and eloquent preacher.
One beautiful day in summer his
church was crowded to the door by
a most attentive audience, which cer
tainly was a gratifying sight in view
of what had been the case previously.

Expressing to his precentor at the

IOI

LIGHTS AND SHADOWS

close of the service his satisfaction at
having had such a large congregation,
the latter modestly remarked : " Aweel,
ye see, sir, it's nae wonder, for folk a'
ken guid singing when they hear't ! "

Another very characteristic story
comes from the south, regarding a pre
centor who really was a very good singer.
After morning service one Sunday, the
minister being pleased with himself as
well as with the singing, said to the
precentor : "John, that singing was
really very good. How was it that
you attained such proficiency ? "

" Weel, sir/' said John, taking the
compliment quite seriously, " as we
are speakin' confidential - like atween
oorsels, I may tell ye that it took me
the best pairt o' twenty years before I
reached perfection ! "

IO2

LIGHTS AND SHADOWS

Of a different type was the precentor
of an earlier day who, being rather
weak on the Roman numerals, glanced
at the 43rd Psalm first one way and
then another, and finally made the inti
mation : " We are to begin the service
by singing the X and the L and the
three e'ed Psalm."

The danger of seeking for compli
ments is aptly shown by a conversation
between a worthy minister of a pro
vincial town in the south of Scotland
and a stranger whom he met in the
kirk loan just after service one Sunday.

" Good-morning ; I think I have had
the pleasure of seeing you twice or
thrice in our church lately."

" Quite right, sir, quite right."

" You are a stranger ? "

"Ay; I live five miles frae the town."
103

LIGHTS AND SHADOWS

" Indeed ; then I trust your visit is to
your edification."

" You're richt, sir ; your richt.
Div ye ken, your baand is the best
i' the county, and I wad stand ony kind
o' preachin' just to hear your singing."

AMATEUR PRECENTORS

For some years after the Disruption
many of the Free churches had the
praise led by amateur precentors. This
brought about some amusing impres
sions and misapprehensions. For ex
ample, we know of one instance where
the precentor for the time being was
an eminent legal gentleman in the city
of Edinburgh. An acquaintance of
his of equal social position had left
the country several years previous to
this. On his return he was speaking
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LIGHTS AND SHADOWS

of the changes that had taken place
during the interval. " For instance,"
said he, "when I left town A. H.
was an eminent Writer to the Signet,
and now he is a precentor in New
North Church ! "

There were some good amateur pre
centors and some woefully bad ones,
although, as an old lady was heard to
remark of one of the latter class ; " He
worked gey hard, puir man, for a* he
got."

The amateur precentor, like the
genuine article, was exposed to the
comments and criticisms of "gentle
and semple," without much regard
being paid to his feelings. But he
had his compensation in the admiration
with which he was viewed by his im
mediate friends.

I05

LIGHTS AND SHADOWS

" Can you tell me, sir, who is to
preach to-day ? " asked a stranger of a
man standing at a church door in
Edinburgh.

" Preach, did ye say ? I dinna ken
wha's to preach ; but my son's to pre-
cent. Gang in, sir, gang in ! "

Perhaps the most striking trio of
amateurs ever brought before the public
was that suggested by Dr M'Knight,
who was clerk to the General Assembly
of the Church of Scotland more than
a century ago. The business before
the House was the appointment of a
committee to improve the psalmody of
the Church, when the worthy clerk,
who was wont to enliven a dull seder-
unt by a joke, solemnly suggested the
addition of the following names to
those already proposed : — " Mr Singer
1 06

LIGHTS AND SHADOWS

of Humbie, Mr Sangster of Fala, and
Mr Pyper of Pencaitland."

Quite recently there died a notable
Border town worthy who in his young
days became a member of the Free
Church at the Disruption. He occu
pied the " desk " for a number of years,
but by-and-by did not please the con
gregation. His services were gratuitous,
and it was a delicate matter to dislodge
him. As the minister remarked : " It's
an unco maitter to fash wi' them that
tak' pairt in the services o' the Sanc
tuary." Several suggestions were made,
and at last the idea was hit upon that,
by giving him a small but inappro
priate present, he might take the hint
that his services were no longer desired.
A soiree was arranged, and the presen
tation of a silver snuff-box was made
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LIGHTS AND SHADOWS

to him, when in reply, greatly to the
annoyance and discomfiture of his
enemies, he expressed his delight at
this signal proof of their appreciation
of his singing, adding : " As I've done
so well in the past I hope to give
greater satisfaction in time to come."

108

PART IV
CONCLUSION

Conclusion

THE POWER OF PSALMODY

IT is impossible to properly appreciate
or even to understand the tenacity with
which the Scots cling to simple psal
mody unless we remember that, by
long pondering over " The Book," their
thoughts unconsciously find expression
in the language of Scripture, which has
enriched and made picturesque their
vernacular ; and, further, that to all
classes amongst them many of the
psalms are veritable tide -marks of
national or personal experience.

The Reformation watchword in the
46th ; the Covenanter's hope in the

CONCLUSION

76th ; the victor's shout in the i 24th ;
the contrition of the 5ist; and the
child-like faith of the 23rd, have en
deared these psalms to every Scottish
heart.

Yes ; the precentor passeth ; but that
the psalms may never pass from the
churches should be the fervent wish
of every lover of our land.

Burns, who knew well what was
dearest to us, and who knew music a
great deal better than is commonly
supposed, has left not only a beautiful,
but what we are assured is a true
picture of the habits of the cottar of his
day :

They chant their artless notes in simple guise ;

They tune their hearts, by far the noblest aim.
Perhaps "Dundee's" wild warbling measures rise,

Or plaintive " Martyrs," worthy of the name,

112

CONCLUSION

Or noble " Elgin" beets the heavenward flame,
The sweetest far of Scotia's holy lays :

Compared with these, Italian trills are tame :
The tickl'd ears no heartfelt raptures raise ;

Nae unison hae they with our Creator's praise.

THE OLD ORDER CHANGETH

After many storms in the social as
well as in the ecclesiastical world, for
weal or woe the organ is now securely
anchored in the Scottish Church. A
new medium has been introduced to
our service, but care must be taken that
the instrument does not supplant, but
simply aids, the human voice.

In spite of our admiration for Dr
Andrew Carnegie's munificence, we
sometimes wish he had inquired more
carefully as to the adequate capacity of
the building for the handsome organ
presented, and whether the people
H 113

CONCLUSION

were able to maintain it in proper
condition, and have it properly played
after they got it.

Congregations in too many instances
have literally found that " their reach
was farther than their grasp," and, by
a spirit of ostentation and rivalry, have
lost the benefit of a medium which
by judicious forethought might have
proved a real aid to devotion.

An instrument fit for a cathedral
placed in a small church is a violation
of the laws both of taste and of
acoustics. Church praise, after all, is
a spiritual act ; and where its acces
sories offend the aesthetic sense, so far
is it weakened, and its devotional in
fluence vitiated.

But, so far as our theme is concerned,
the whole matter may be summed up in
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CONCLUSION

a sentence : " The old order changeth,
giving place to the new " ; and, save
in a few country places, the Scottish
precentor as we and our fathers knew
him is gone for ever.

It may be said : Surely not gone for
ever when one thinks of the people
who, for various reasons, have recently
left organ-using churches. Well, re
crudescence is not renascence, and the
younger generation, even in the far
north, have long since, in school and
elsewhere, come under the spell of the
musical forward movement, so that the
precentor is no longer to them the
official he was to their fathers.

True, he is still heard in the highest

of our Church courts, and strangers

from distant lands greet him as one of

the few things distinctively Scottish —

"5

CONCLUSION

as they understood it — that yet remain
in our midst. But he is passing there
too, and in a short time his chair will
be vacant, and men will look in vain
for any vestige of his office.

So time speeds on, and forms and
forces which seemed likely to last as
long as our nation cherished its tradi
tions, are discarded and neglected ; and
even while we marvel they are " a*
wede away."

THE RIVERSIDE PRESS UMITED, EDINBURGH,