Page 210 - Weiss, Jernej, ur./ed. 2023. Glasbena društva v dolgem 19. stoletju: med ljubiteljsko in profesionalno kulturo ▪︎ Music societies in the long 19th century: Between amateur and professional culture. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 6
P. 210
glasbena društva v dolgem 19. stoletju: med ljubiteljsko in profesionalno kulturo
ment, but also to enhance the temperance processions of which they
were so proud.51
Soon singing classes were offered all over the country.
The movement also wanted to provide its singers with suitable mate-
rial to perform. Hence hymns and arrangements of music for the temper-
ance movement were created as well, including the publication of twen-
ty temperance hymns in The Catholic Choralist in 1842 “ for the use of the
choir, drawing room, cloister and cottage. Harmonized and arranged for the
voice, band pianoforte and organ.”52 However, the Temperance Melodies for
the Teetotallers of Ireland from 1843 by William McNamara Downes were
much more successful (going through three editions in their year of pub-
lication alone). Using well-known tunes from Thomas Moore’s Irish Mel
odies, they connected more easily with the people than the hymns in The
Catholic Choralist, which had adapted melodies by continental composers.
Apart from the free or very cheap singing classes the temperance
movement also offered musical instruction of other types. An example of
this is the “Drogheda Harp Society” which existed between 1839 and 1845.
Unlike the music societies discussed above its function was not making
music for the entertainment of its members but rather teaching children the
harp in order to keep them away from the booze (and, as a side effect, revive
the playing of Ireland’s traditional instrument).
The use of Irish tunes and instruments brought the movement in con-
nection with nationalist sentiments:
By setting the Temperance movement’s success story to Irish music,
the ‘revolution’ took on a nationalist slant. However, the type of na
tionalism promoted was in accordance with Mathew’s views that it
should be patriotic and celebratory in nature, rather than aggres
sive and political.53
Still, not all of his followers shared his views, and this made things di-
fficult for the priest: Mathew
frequently and harshly condemned secret societies and deplored
efforts to align the crusade with nationalist movements, nota
bly with O’Connell’s repeal campaign. But many of his supporters
51 Ibid., 174.
52 Ibid., 178.
53 Ibid., 184.
208
ment, but also to enhance the temperance processions of which they
were so proud.51
Soon singing classes were offered all over the country.
The movement also wanted to provide its singers with suitable mate-
rial to perform. Hence hymns and arrangements of music for the temper-
ance movement were created as well, including the publication of twen-
ty temperance hymns in The Catholic Choralist in 1842 “ for the use of the
choir, drawing room, cloister and cottage. Harmonized and arranged for the
voice, band pianoforte and organ.”52 However, the Temperance Melodies for
the Teetotallers of Ireland from 1843 by William McNamara Downes were
much more successful (going through three editions in their year of pub-
lication alone). Using well-known tunes from Thomas Moore’s Irish Mel
odies, they connected more easily with the people than the hymns in The
Catholic Choralist, which had adapted melodies by continental composers.
Apart from the free or very cheap singing classes the temperance
movement also offered musical instruction of other types. An example of
this is the “Drogheda Harp Society” which existed between 1839 and 1845.
Unlike the music societies discussed above its function was not making
music for the entertainment of its members but rather teaching children the
harp in order to keep them away from the booze (and, as a side effect, revive
the playing of Ireland’s traditional instrument).
The use of Irish tunes and instruments brought the movement in con-
nection with nationalist sentiments:
By setting the Temperance movement’s success story to Irish music,
the ‘revolution’ took on a nationalist slant. However, the type of na
tionalism promoted was in accordance with Mathew’s views that it
should be patriotic and celebratory in nature, rather than aggres
sive and political.53
Still, not all of his followers shared his views, and this made things di-
fficult for the priest: Mathew
frequently and harshly condemned secret societies and deplored
efforts to align the crusade with nationalist movements, nota
bly with O’Connell’s repeal campaign. But many of his supporters
51 Ibid., 174.
52 Ibid., 178.
53 Ibid., 184.
208
