OLIVER SHAW
MEMORIAL



MEMORIAL
OF
OLIVER SHAW,
PREPARED AND PUBLISHED UNDER
THE AUSPICES OF THE
RHODE ISLAND VETERAN CITIZENS,
HISTORICAL ASSOCIATION
EDITED BY *
FREDERIC DENISON,
ALBERT A. STANLEY,
EDWARD K. GLEZEN
. . - - - -----------> -------- - - - - -
PROVIDENCE :
J. A. & R. A. REID, PRINTERs
1884
INSCRIBED
TO THE FRIENDS AND PUPILS OF
OLIVER SHAW,
AND IN MEMORY OF HIS CONTRIBUTIONS TO THE
ART OF MUSIC
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PRELUDE
At a meeting of the Rhode Island Veteran Citi-
zens’ Historical Association, in October, 1883, a let-
ter was read from the Rev. F. Denison, suggesting
the duty of preparing a sketch of the life and musi-
cal labors of the distinguished composer, Oliver
Shaw. The president, the Hon. Elisha Dyer, pro-
ceeded to collect papers for this purpose, and put
them into the hands of the Rev. Edwin M. Stone.
On Mr. Stone's death, Mr. Denison was urged to
take up the work, and on the first Monday in Feb-
ruary, 1884, he presented to the Association the
sketch, as far as it could then be completed, includ-
ing an outline of the Professor's life by his daughter,
Mrs. Abbie B. (S.) Cole, of New York. At the
same time, the Rev. Edwin B. Eddy, son-in-law of
Mr. Shaw, presented a catalogue of the musician's
works, with observations on the characteristics of
the author. As a specially interesting part of the
occasion, Mr. E. K. Glezen, Mr. A. A. Stanley,
º
5
Miss Villa W. White, and Mr. Thomas W. John-
son, musicians of Providence, rendered some of the
Professor's choice compositions.
At this meeting it was resolved to take steps to
hold a Memorial Concert in which some of the
famous songs of Mr. Shaw should be given, and
that the avails of the concert should be used in
securing a printed memorial of the singer. The
committee charged with this service consisted of
Henry J. Steere, Thomas J. Hill, Albert C. How-
ard, William A. Mowry, Elisha Dyer, B. B. Ham-
mond, Richmond P. Everett, F. Denison, and
Charles Gorton. These selected a sub-committee,
E. K. Glezen, A. A. Stanley, Jules Jordan, C.
Gorton, and R. P. Everett, to carry out the design.
Of this sub-committee the first three had charge
of the musical programme and its execution, while
the last two cared for the business transactions.
The concert took place in Blackstone Hall, cor-
ner of Washington and Eddy streets, Providence,
March 14, 1884, and was largely attended. Many
aged people who had been Mr. Shaw's pupils were
present and were deeply moved. Some persons
were present from Boston and New York. The
following is a copy of the programme of the con-
Cert:
OLIVER SHAW
Born March 13, 1779; Died December 31, 1848
MEMORIAL CONCERT,
under the auspices of the
RHODE ISLAND VETERAN CITIZENs’ Historical Association,
Friday, March 14, 1884,
by the following artists, who have generously volunteered
- their services :
Miss VILLA W. WHITE, Soprano,
Mrs. CORA BISHOP STONE, Contralto,
Mr. JULES JORDAN, Tenor,
Mr. THOMAS E. JOHNSON, Tenor.
Mr. WALTER J. CUSHING, Bass,
Mr. EBEN A. KELLY, Pianist,
Mr. ALBERTA STANLEY, Accompanist
CoMMITTEE of ARRANGEMENTS:
Mr. E. K. GLEZEN, & Mr. CHARLES GORTON,
Mr. ALBERT A. STANLEY, Mr. R. P. EVERETT
Mr. JULES JORDAN,
PROGRAMME
PIANO SOLO —
a Impromptu, wº - " - tº Schubert
& Im Walde (in the woods), - º * Heller
Mr. Kelly
TRIO – The mercy seat (1836),
Miss White, Mrs. Stone, Mr. Cushing
SONGS — a The ship is ready (1833),
b The parting words,
c Julia (1827),
d Bring roses (1834)
Mr. Jordan
QUARTETTE – The church's welcome 1840 ,
Miss White, Mrs. Stone, Messrs. Johnson and Cushing
SONGS – a As down in the sunless retreats (1821),
b Mary's tears (1812),
c "Tis a world of enjoyment and sadness (1840)
Mrs. Stone
©
DUET – The bird let loose (1823),
Miss White and Mr. Johnson
SONGS — a Hours of prayer (1836),
& "Tis to the east the Hebrew bends (1823),
Mr. Cushing
PIANO SOLO —
a Song without words, tº- gº Tschatkowski
b Idylle, - gº - gº sº Rheinberger
c Cradle song, * sº sº E. A. Kelly
Mr. Kelly
SONGS — a The blue bird (1821),
b The raising of Lazarus (1843),
c The spirit bird (1842),
d There's nothing true but heaven (1816)
Miss White
DUET – Honne of my soul (1846),
(The author's last published composition — sung at his funeral)
Miss White and Mrs. Stone
A fine portrait of the composer, with a picture of
his residence, graced the platform. The musical
programme was admirable carried out and highly
applauded.
After the concert, the committee having the mat-
ter in hand engaged the gentlemen named on the
title-page of this work, F. Denison, A. A. Stan-
ley, and E. K. Glezen, to prepare a sketch of his
life, with observations on the musical qualities of
Mr. Shaw's works, and a catalogue of his composi- *
tions; a task that required much time and labor.
And here it is proper to state that all the parties en-
gaged in the concert, and in the business transac-
tions connected with it, have freely given their ser-
vices. -
For the biographical sketch to be presented, the
chief material depended upon has been obtained
from “A Discourse on the Life and Death of Oliver
Shaw, by Thomas Williams,” bearing the imprint,
“Boston, Charles C. P. Moody, printer, old Dick-
inson office, 52 Washington St., 1851”; notes and
suggestions by Mrs. Cole, and the Rev. Mr. Eddy.
Certain facts and reminiscences have been furnished
by Mr. Shaw's surviving pupils and the older peo-
ple of Providence. In a private note, Mrs. Cole
mentioned the deeply regretted fact of the loss of
IO
her father's letters and papers that had been put
into the hands of a literary friend as helps in pre-
paring a needed memoir that was contemplated but
never realized. That loss of papers is deplored by
a wide circle.
The catalogue of Mr. Shaw's music was pre-
pared by the Rev. E. B. Eddy. It comprises only
what is now at hand, and probably many composi-
tions are omitted. Besides those mentioned are
many in manuscript.
I I
OLIVER SHAW
I 779 – 1848
HIS LIFE
OLIVER SHAw, son of Captain John and Han-
nah (Heath) Shaw, was born in Middleborough,
Mass., March 13, 1779. He had two brothers,
Orlando who died at the age of seven years, and
Cyrus who died at the age of seventeen. He had
five sisters, Nancy, Betsey, Charlotte, Hannah, and
Mary. His grandfather, Nathaniel Shaw, was a
deacon in the church of the famous Baptist histo-
rian, the Rev. Isaac Backus, and Captain Shaw
preferred the same ministry. Captain Shaw, be-
ing engaged in navigation, finally removed from
Middleborough to Taunton, and built himself a
house near Weir Bridge, where he remained till
his death. By an injury, Oliver in his childhood lost
the use of his right eye. In his seventeenth year,
he entered the Bristol Academy, in Taunton, then
just opened by Mr. Simeon Doggett, a graduate of
I5
Brown University in the class of 1788, and for fif-
teen years a tutor in the college. Oliver received
deep and happy impressions from his excellent
teacher. He afterwards accompanied his father,
who commanded a vessel sailing to the West Indies,
and rendered assistance in nautical observations.
When about twenty-one years of age, having just
recovered from an attack of yellow fever, in taking
an observation he so injured the sight of his re-
maining eye that he finally became totally blind.
Pathetically Mr. Williams observes, “fearful
and hopeless in respect to every earthly prospect
of useful service, comfort or relief, smitten with
darkness which was felt, not by himself only, but
by every friend who might reach a hand to help
him in the storms and tempests that threatened his
voyage on the troubled ocean of life, what could he
do, and what could be done for him, in the mid-
night of his morning?”
Fortunately a musical taste existed in his family,
and all his sisters acquired musical proficiency.
His sympathizing family and friends heard of a
celebrated teacher of music who had lately arrived
from England, and become a resident of Newport,
R. I. This was Dr. Berkenhead. Captain Shaw
took his son to Newport and placed him under this
I6
musician's instruction. Here Oliver spent two
years studying the science of music, and practic-
ing on the piano-forte and organ. “He was in-
tensely interested, and more than delighted.”
“He allowed himself no rest by day or night—-
which in some respects were both alike to him.
Indeed he was prostrated by his assiduity and per-
severance.” But this employment became the joy
of his heart and the object of his life. He rose
into the realm of harmony and song.
From Newport he went to Boston and studied
with a German teacher named Gottlieve Groupner,
still devoting himself to the piano and organ. With
another teacher, Thomas Granger, an Englishman,
he practiced on different musical instruments, mak-
ing remarkable progress. This introduction to
Boston served him well at a later day.
After spending two years in Boston he was in-
vited to Dedham as a musical instructor on the piano
and organ. Meanwhile he was becoming pro-
ficient on various instruments and developing his
musical perceptions. Here he won the esteem, en-
joyed the friendship, and received the assistance of
Dr. Jesse Wheaton and the Hon. Fisher Ames.
And here he prepared and published his first musi-
cal volume, entitled “The Gentleman's Favorite
17
Selection of Instrumental Music.” Mr. Shaw was
then about twenty-eight years of age.
On a visit to Providence he met an intelligent
and sympathizing lady, Sarah Welch, afterwards
Mrs. Joseph S. Cook, who informed him that at
that time there was in Providence no professional
or thoroughly skilled teacher of music, and urged
that he should there make a trial of his profession.
His friend found him a place to board and lodge,
and engaged a boy to lead him to the residences of
the citizens.
In 1807 he removed to Providence, which was
ever after the place of his abode, and the chief,
though not the only, field of his musical career.
Musical taste and talent existed in Providence, but
awaited development. Here were harps that only
needed a master hand to string and touch them.
Immediately Mr. Moses Noyes and Col. Thomas
S. Webb formed the acquaintance and felt the in-
spiration of the new teacher. “These gentlemen
were worthy of esteem and affection for their men-
tal endowments, social manners, and intelligent
and agreeable conversation.” “They soon began
to have meetings with Mr. Shaw for their improve-
ment and gratification in the performance of
psalmody. Mr. Shaw became the organist of the
18
First Congregational Society, then under the
pastoral care of the Rev. Dr. Edes.” This posi-
tion he filled, giving the highest satisfaction, for
many years.
Other gentlemen became acquainted with the
character and object of the meetings of Mr. Shaw
and Messrs. Noyes and Webb, and soon joined
these weekly gatherings. A new musical era had
come. The new school consisted of Mr. Shaw,
the master spirit, Messrs. Noyes and Webb, Amos
M. Atwell, Ahab Capron, Oliver Kendall, Samuel
Tingley, Henry Cushing, William H. Smith, Har-
riet Jones and others. The company usually num-
bered a dozen, who soon distinguished themselves
and the town. *
Mr. Shaw had now become a part of the life of
Providence. On the 20th of October, 1812, he was
married to Sarah Jenckes, the only daughter of Mr.
Caleb Jenckes, who was one of the ablest surveyors
in the country, and was employed by the Govern-
ment in the survey of western lands during the
presidency of Washington. Of his seven children,
two sons and five daughters, all, and especially his
son Oliver J., inherited much of the father's musi-
cal genius. Mrs. Shaw was more than an ordinary
woman, and greatly assisted her husband in his
I9
arduous career. Her house was a hive of indus-
try and a home of music; especially so when it be-
came filled with pupils.
In 1815 Mr. Shaw's original musical club of
about a dozen was increased by the admission of
ladies and gentlemen until “the number was be-
tween fifty and one hundred.” They held their
meetings in private houses until their society be-
came so large that they were induced, for their ac-
commodation, to hire a hall in Hamilton Buildings.
The happy effect of their intelligent and spirited
efforts began to be known and “approved in the
whole town, and to influence and elevate the per-
formance of psalmody in the public worship of God
on the Sabbath. Several members of the society
attended the services of religion in the Pacific Con-
gregational meeting-house, and the minister of
that congregation attended the weekly meetings
with the singers.” A large proportion of the stu-
dents of the college became interested in this new
development of music. Already Mr. Shaw's com-
positions had begun to appear in print, and had
become exceedingly popular.
Colonel Webb removed to Boston and became
the first president of the Haendel and Haydn So-
ciety of that city. Mr. Shaw, who assisted in its
2O
organization, was received joyfully as an honorary
member, and brought out before it some of his
most enduring compositions. He and Colonel
Webb selected the first music ever performed by
that society. &
But before Colonel Webb's removal to Boston, he,
with Mr. Shaw and Mr. Noyes as leaders, in 1815,
formed and organized the famous Psallonian So-
ciety, which by act of the Legislature was incorpo-
rated in October, 1816, as the charter reads, “for
the purpose of improving themselves in the knowl-
edge and practice of sacred music, and inculcating
a more correct taste in the choice and performance
of it.” Mr. Shaw was its first and only president.
During the sixteen years of its active lifeit enrolled
many of the rarest spirits of Providence, and
greatly elevated the musical taste of Rhode Island.
Here Mr. Shaw brought out some of the best com-
positions of Haendel, Haydn, Mozart, Beethoven,
Mendelssohn, and other composers, being the first
to introduce some of them into this country. The
concerts of the Psallonians were a great success, and
it is asserted that the music rendered by them had
never before been performed so well in the coun-
try. In their palmy days the Psallonians could, of
themselves, render any of the famed oratorios.
2 I
Mr. Shaw “was frequently called to Boston for
his influence and assistance in musical matters. In
fact, he was regarded as musical authority in all
parts of the country.” The first concert of the Psal-
lonians was given at Aldrich's Hall in the Washing-
ton Tavern. When the society was incorporated
it enrolled forty-nine members, thirty-five gentle-
men and fourteen ladies. At its last annual meet-
ing, October Io, 1832, the roll held the names of
forty-one gentlemen and twenty ladies. Mr. Shaw
was still president. Moses Noyes was vice-presi-
dent, Henry Cushing was treasurer, Samuel Ting-
ley was secretary. The directors were Job Angell,
Sylvanus Tingley, Richard E. Eddy, William H.
Townsend, and Gilbert Richmond.
In connection with Mr. Noyes, Mr. Shaw
“taught a number of singing schools in Provi-
dence and vicinity with great success and the most
happy effect. From the commencement of his
musical instructions he was much engaged in the
discipline and tuition of bands of martial music.
He selected and employed the musicians who per-
formed the musical services at the Commencements
of Brown University, and on other similar occa-
sions. In such affairs he was distinguished for
his punctuality, fidelity, discretion, and success.”
• *
&e ºf
“In the instruction of pupils he had constant and
abundant employment from the time he first entered
Providence till his heart and flesh failed him. He
had scholars in many of the most intelligent and
opulent families of the town. On such patrons he
bestowed his care, usually in their own dwellings,
with the universal approbation of the families. He
often gave as many as forty lessons a week.
Besides, he had many scholars whom he instructed
in his own house, a large mansion on the corner of
Westminster and Eddy streets. Sometimes he had
ten or twelve students whom he taught, boarded
and lodged in his house. He had scholars from
the counties of Windham, New London, and
Hartford in Connecticut; from Warren, Bristol,
Newport, and other towns in this state; from
Taunton, Fall River, New Bedford, Wrentham,
Dedham, Boston and other parts of Massachusetts.
Nor was he unknown in Maine, Vermont, and New
Hampshire, from which states he had pupils.” His
published compositions, songs, marches, hymn-
tunes, and special pieces gave him wide and envi-
able reputation. “The number of his publications
and compositions was, in no respect, exceeded by
any author and composer in his profession, that
ever taught and sung in his day.” “His songs were
23
sung and his other musical compositions performed
in every state and in every large town and city in
the Union.”
As early as 1810 Mr. Shaw became interested
in religious subjects. “Though he gave his
Christian friends consoling evidence of his piety
through the trials of many years, yet he never made
a public profession of his faith and hope until the
sixth day of April in the year 1834. He then united
with the Second Baptist Church (then located on
Pine Street, now the Central Baptist), and was im-
mersed by the Rev. Pharcellus Church, D. D.”
“Besides the worship of God in his family in the
morning of each day, and in the early part of every
evening, it was his common practice to retire, twice
every day, for the performance of his personal de-
votions.” “For his family worship he composed
music for many favorite hymns, and the singing
with piano or organ accompaniment, formed an
inspiring addition. It often happened that evening
visitors, friends of the family, or students from the
college, would ask the privilege of remaining at
prayers.” “His blindness gave an added spirituality
to the atmosphere of simplicity, purity, and dignity
which seemed to surround him and set him apart
from other men.”
24
Mr. Shaw's music interpreted his spirit. His
piety was breathed in his sacred compositions; and
so many of these did he compose that a volume of
his psalm and hymn tunes was published. His
patriotism was voiced in his stirring marches; and
his political views were revealed in the names of
his civic and martial compositions. He became
familiar with the best poets and writers of olden and
modern times, and setting to music some of the
choicest poetic efforts in our language wedded his
name indissolubly with that of the poet. He could
translate into song both the thought and spirit of
the most subtle and delicate poem.
There was something quite touching in his
methods of composing his music. On account of
his blindness he was obliged to dictate by means of
the letters of the staff, to his daughters, who served
as his amanuenses. He would sometimes compose
by means of the keys of his instrument, his notes
being copied as they were struck. He held a high
rank also as a performer, on account of the rich
qualities of his voice. He excelled particularly in
tenor qualities. He could rise to the falsetto with-
out a break.
His industry was as great as his genius. He
conquered through toil. From boyhood to his ripe
25
age he labored with mind and body, heart and
soul, to attain excellence, and to lift up his fellow-
men. While in the world battling with its realities,
he was much of the time above it. We seem to see
him walking the streets, led by a boy, or in the
halls of concert leading the singers, or in the house
of song and prayer prečminent for his devotion,
his sightless eyes turned heavenward, as if he
heard the heavenly music.
Mr. Shaw's immediate successors, who achieved
musical distinction, were largely indebted to him.
Mr. Lowell Mason stated that he was “indebted to
him for his start in life — that he owed all to him.”
Many of his compositions spread not only through-
out our own land, but reached the musical centres
of Europe. His song, “There’s nothing true but
Heaven,” was “repeated night after night by the
Boston Haendel and Haydn Society,” and “ has
been more widely circulated in this country than
any other music of the kind.” Certain other of his
productions became nearly as popular.
The singer's voice was hushed in death Dec.
31, 1848. His departure was a triumph. Having
reached his seventieth year, having toiled nobly,
having served his generation, having given new
and higher impulse to the hearts of men, he entered
on the rest for which he had hoped.
26
His funeral, observed Jan. 8, 1849, in the Pine
Street Baptist Church, was largely attended. As
his pastor, the Rev. Zabdiel Bradford, was ill, the
services were conducted by the Rev. James N.
Granger, D. D., of the First Baptist Church. In
the introductory exercises, Prof. Henry S. Frieze,
the organist, rendered Mr. Shaw's beautiful song,
“There's nothing true but Heaven.”
The well-known hymn,
“Teach me the measure of my days,
Thou Maker of my frame,”
was sung in music composed by the dead singer,
and was touchingly voiced by members of the
Psallonian Society. The services also included
the duet,
“Home of my soul,”
the last piece published by the deceased. The
closing hymn,
“ Unveil thy bosom, faithful tomb,
Take this new treasure to thy trust,”
was also rendered in soft yet exultant music com-
posed by the departed. All eyes were suffused
with tears.
His remains were borne to the West Burying
Ground, followed by a large procession led by the
American Brass Band discoursing airs of his com-
position. The body has since been removed to
Swan Point Cemetery, where it is honored by a
marble monument.
The public notices of his death and the tributes
paid to his memory by various societies were nu-
merous and tender. His forty-one years of devoted
musical life and toil in Providence embalmed him
in the affections of the people.
28
HIS COMPOSITIONS
IN examining the compositions of Oliver Shaw
it would be manifestly unfair to judge them by
modern standards alone. There would scarcely be
sufficient reason for bringing into renewed notice
the works of this singularly gifted man, did they
not stand the test of that criticism necessary to de-
termine whether a musical production possesses the
essential elements of an art work. Music without
determinate tonality, void of harmonic and melodic
‘symmetry, lacks the coherency and unity of design
necessary to perfect musical form and becomes
mere tonal chaos. Even though it bears the marks
of genius these defects are fatal. On the other
hand, the presence of these qualities makes a sim-
ple song as perfect a manifestation of symmetrical
composition as a symphony, although in a lesser
degree. *
That Oliver Shaw's works not only bear the im-
29
press of true inspiration in their emotional content,
but also are as a rule pure in form, is positive proof
of his fresh and natural musical intuition and well-
balanced mind,- musical form being simply the
logical development of musical ideas, according to
the constructive principles which obtain in all de-
partments of literature and art.
That master of poetic form, Goethe, speaking of
the necessity of a strict adherence to the underlying
principles of good composition, says that it is “pre-
cisely genius, natural talent, that is the first to
appreciate them, and that pays them the readiest
obedience.” Oliver Shaw illustrates the truth of
this statement most remarkably, his compositions
possessing not only the elements of enduring popu-
larity, but also, in the simple forms through which
his genius found utterance, an ease of movement
which makes them capable of standing the test of
critical analysis, thus conforming to the rules of
musical art.
The conditions under which he wrote were of
course unfavorable to the development of the larger
and more extended forms, and as a consequence
we find that the majority of his compositions were
written in the simpler primary vocal and instru-
mental forms. -
His instrumental compositions have little to com-
3o
mend them, musically speaking, although they will
always command an interest by virtue of their asso-
ciations, and will be valuable material for the future
musical historian. A comparison of his marches,
quicksteps, and waltzes with his vocal works will
show the justice of the above statement, and
emphasize the fact that he was prečminently a song .
writer.
The songs, which we will first consider, possess
the prime requisites of a satisfactory song, viz.:
melody, symmetry, a perfect interpretation of the
sentiment embodied in the poem. They are im-
bued with melody, the depth and richness of which
is only fully realized through study, a unity and
simplicity of design truly admirable, and in every
case carry out the sentiment of the poem most per-
fectly.
“Mary's Tears,” “There's nothing true but
Heaven,” “The Spirit Bird,” “The Pilgrim's
Farewell,” are all examples of the purest melody,
and the musician can but admire the simplicity of
the means employed in producing such admirable
lyrics as these.
Sacred words seemed to appeal peculiarly to the
muse of this blind man, but that secular works
could also inspire his fancy, we have only to point
to the group of secular songs, some of which are
31
simply perfect. “The Blue Bird,” “Julia,” “Kill
Deer,” are delightful in every respect, and in the
accompaniments, notably in the “Blue Bird,” are
many very beautiful and delicate passages, display-
ing a freedom of treatment not met with in the
sacred songs. “The Ship is Ready,” is a very
vigorous piece of writing, the melody being expres-
sive and remarkably well sustained throughout.
“Bring Roses,” is a perfect canzonet, and is as in-
genuous and delicious as though written by Haydn.
In both of these songs the piano is accorded more
importance than in the earlier works, and it would
be hard to imagine a more perfect accompaniment
than that to “Bring Roses,” with its delicate arpeg-
gios in triplets. In the melody of this last is a
beautiful example of the exquisite manner in which
he introduced oftentimes quite florid and extended
embellishments, which in every case, instead of
detracting from the purity of the melody, as they
often do, impart a delicacy which is graceful in
the extreme. The fact that he possessed a tenor
voice of remarkable compass, in all probability ac-
counts for the demands made upon the singer be-
cause of his repeated use of the higher notes in a
manner calculated to fatigue an ordinary voice.
He displayed the most refined taste in the choice
of subjects for musical setting, evidently preferring
32
those lyrical poems which lend themselves so read-
ily to a strophic form, to those of a dramatic na-
ture, which require such a different method of
treatment. Possibly in some cases minor inaccu-
racies of expression might have been avoided had
he employed the more elaborate form, which in-
terprets each stanza by itself while preserving
through this diversity of treatment a strict unity of
design. In view of the fact that in later editions
of the earlier songs, he elaborated them, greatly to
their detriment, it is evident that in his original
treatment appeared the simplicity and perfection of
his genius.
Doubtless the absence of a thorough mastery of
counterpoint, evident upon a close examination of
his works, restricted the full development of his
ideas, and rendered his style essentially homo-
phonic. That in spite of this Oliver Shaw could
produce a duet as effective as “The Bird let
Loose in Eastern Skies,” is another proof of his
rich natural gifts. With this may be mentioned
“Home of My Soul,” as also, “All things Fair and
Bright are Thine.” A very elaborate anthem,
“Praise Ye the Lord,” is the most notable example
of his polyphonic writing, and one can but feel
that in this style he is not at his best, as success
in this form implies the most perfect command of
33
contrapuntal resources. That he was a close
student of Haendel, is evidenced by this work,
while his appreciation of Mozart and Haydn is
shown by the fact that he undoubtedly took them
as models, an example which the present genera-
tion of musicians would lose nothing by following.
The range of harmonies employed in his com-
positions is very limited, rarely embracing more
than the tonic, dominant, and sub-dominant, with
an occasional modulation into the relative minor.
His cadences are full and strong, as would
naturally result from the simple harmonic basis of
his writings, while his rhythms are never compli-
cated, but are remarkably clear and free.
It is to be hoped that this article, purposely non-
technical in its nature, may stimulate musical people
to examine the works of Oliver Shaw. If one will
lay aside prejudice, and judge the music by the
spirit as well as the letter of musical criticism,
nothing but the utmost respect and reverence will
be felt for the talent of this composer, who, under
the most unfavorable conditions, produced Com-
positions which, for the credit of the musical pro-
fession, as owing so much to the pioneers of musical
art in this country, as well as for the intrinsic value
of the works themselves, should not be allowed to
sink into oblivion.
34
CATALOGUE
OF HIS
PUBLISHED WORKS
VOCAL MUSIC
DATE,
1812 MARY's TEARs.
Sacred Song.
I816 THERE's NoTHING TRUE BUT HEAVEN.
Sacred Song. Sixth edition published in 1829.
1817, ALL THINGs FAIR AND BRIGHT ARE THINE.
Duet.
1818 DISMIssion HYMN.
Solo, Duet, and Chorus.
& 6 THE INSPIRATION.
- Sacred Song.
& 6 WHO's THIS THAT ON THE TEMPEST RIDEs?
Solos, Duets, and Chorus.
35
1821. As Down IN THE SUNLEss RETREATs of
THE OCEAN.
Song.
“ Apollo THY TREASURE.
Song.
“ KILL DEER.
Song. Dedicated to Mrs. Sophia Ostinelli.
“ THE BLUE BIRD.
Song. Dedicated to Miss Mary B. Bush.
1823 PRAISE YE THE LORD.
An Anthem with accompaniment for the Piano-forte or Organ.
“ ”TIs TO THE EAST THE HEBREw BENDs.
Sacred Song.
66 HAIL! GREAT CREATOR.
Sacred Melody for four voices.
“ CoME, STRIKE THE SILVER STRING.
Song.
“ Go, LET ME WEEP.
Song. Dedicated to Mrs. Mary S. Holman.
** WHEN SOL FROM THE EAST.
Duet and Chorus.
“ THE BIRD LET Loose.
Duet.
36
1823
66
66
1824
Song.
1827
6 &
1829
1830
Song.
& 6
& 6
THE SMILE.
Sacred Song. Dedicated to Mrs. C. C. Edes.
THE Polar STAR.
Sacred Melody. Dedicated to Amasa Winchester, Esq.
IN Sweet ExALTED STRAINs.
Anthem for Dedication.
WHILE BEAUTY CLOTHES THE FERTILE
VALE.
As sung by Master Shaw at the Oratorios given by the Psallonian
Society in Providence.
JULIA.
Song.
OH, CoME SMILING JUNE.
Song. Dedicated to Mrs. Martha W. Graves.
THE MEETING.
Song. Dedicated to Miss Marian Howard.
THE LAMP of LIFE.
Song. Dedicated to Miss Martha W. Webb.
Round THE WREAKEN.
As sung by Miss Sarah Shaw at her father's concerts. Dedicated to
Miss A. L. Davis.
For GET ME NOT.
Song. Dedicated to his sister, Mrs. Mary Baylies.
?' - - -
<--.A.
THE TEST of AFFECTION.
Song.
37
1832
I833
6 &
1834
& 6
66
6 &
ODE TO FREEDOM.
Solo and Chorus. 4th of July Celebration.
THE SHIP Is READY.
Song. Dedicated to Miss Sarah Bradford.
THE DYING INFANT.
Sacred Melody. Dedicated to the Rev. Wm. Tyler.
REQUIEM For LAFAYETTE.
Solo.
Twilight Hour.
A Sacred Melody. Dedicated to N. Allen.
BRING Roses.
A Favorite Song. Dedicated to Miss Caroline Sanford.
THE MIssionARY ANGEL.
Sacred Song. Dedicated to the Rev. T. T. Waterman.
To JESUS THE CRowN of My HoPE.
Song. As sung at the Oratorios.
HYMN For Poland.
Dedicated to Poland's Exiled Sons, published and sung for their benefit.
1835
66
EARLY My GoD, WITHouT DELAY.
Anthem.
As MUSIC STEALs ALONG THE AIR.
Song.
38
1835 A VoICE FROM THE DESERT.
6 6
& 6
© 6
66
6 6
$6
6 &
66
Song, with Trumpet Solos.
BE JoyFUL IN GOD.
Anthem.
SoFTLY Now THE LIGHT OF DAY.
Evening Hymn for Three Voices.
How SweetLY FLow ED THE Gospel’s
Sound.
Anthem.
THE MIssionARIEs’ FAREwBLL.
Trio.
SEE, How BENEATH THE MoonBEAM's
SMILE.
Song.
STAR IN THE EAST.
Song.
STAR OF HoPE.
Song.
THE STAR of BETHLEHEM.
Anthem.
Swift FLIES THE HERALD ANGEL BRIGHT.
Song.
39
1835
& 6
6 &
& 6
6 6
6 &
1836
66
6 &
THE LORD Is MY SHEPHERD.
Anthem.
SABBATH MoRNING.
Trio.
THERE Is AN Hour of PEACEFUL REST.
Duet.
WAKE EACH SLUMBERING SAINT.
Hymn for Three Voices.
WAKE THE SONG OF JUBILEE.
Anthem.
THE BEAM of CHRISTIANITY.
Duet.
WHEN FROM HCR's MoUNTAIN HEIGHT.
Anthem for Dedication.
THE RAIN DROP AND MINSTREL.
Duet.
THE MERCY SEAT.
Hymn for Three Voices.
Hours of PRAYER.
Song. Dedicated to Miss Mary B. Pratt.
THE ANGEL of PEACE.
Song. To Miss Melania Ammidown, Boston.
4O
1836 THE HAPPY BRIDE.
Trio. Dedicated to Mr. and Mrs. Parker, Boston.
1837 THE EAGLE ON HIs MoUNTAIN HEIGHT.
Song. To Miss Jane Bemis.
6 6 Is IT WELL WITH THE CHILDP
Duet.
1840 TIs A World of ENJOYMENT AND SAD-
NESS.
Song. Dedicated to Mrs. H. Pratt and Mrs. W. A. Gordon.
66 THE CHURCH's WELcome.
Duet and Chorus.
“ HARRY OF THE WEST.
Solo and Chorus. Dedicated to the R. I. Clay Clubs.
6 6 THE WHIGs of Columbia.
Song and Chorus. To the Cause of Harrison.
“ HARRIson SERENADE.
Song. Dedicated to Gen. W. H. Harrison.
1842 THE SPIRIT BIRD.
Song. Dedicated to Mrs. Ednah S. Newell.
1843 THE RAISING OF LAZARUs.
& Song.
1846 Home of My SouL.
Duet.
4I
INSTRUMENTAL MUSIC.
1831 Gov. FENNER's MARCH.
“ Gov. GIBBs' MARCH AND QUICKSTEP.
“ Gov. Jon Es' MARCH AND QUICKSTEP.
ſ
“ A Ron DEAU For THE PIANO-ForTE to
Miss HARRIET A. LEONARD.
1832 WASHINGTON's GRAND CENTENNIAL MARCH.
Performed at the Providence Centennial Celebration, and dedicated to
Lafayette.
“ THE PROvIDENCE MARCH AND QUICK-
STEP.
“ A Ron DEAU.
Duet for the Piano-forte.
“ THE NATION’s GUEST.
A Military Divertimento, composed and respectfully dedicated to General
Lafayette on his visit to Providence. A musical description of his grand re-
ception, the ringing of bells, the roar of cannon, the music of the bands, the
march of soldiers, and the shouts of the populace.
1833 PRINCETON WALTz.
“ Gov. SPRAGUE’s GRAND MARCH AND
QUICKSTEP.
“ EDNAH's QUICKSTEP.
1834 Gov. FRANCIS GRAND MARCH.
42
1834
6 6
66
G 6
66
& 6
1837
1839
1840
Gov. ARNOLD’s GRAND MARCH.
With an accompaniment for Flute or Violin.
Gov. ARNOLD’s GRAND MARCH.
Duet for the Piano-forte.
Gov. KNIGHT’s GRAND MARCH.
Accompaniment for Flute or violin.
OAKLAND WALTz.
WESTMINSTER WALTz.
WESTMINSTER WALTz.
With Variations.
HART FORD WALTz.
ARIEL WALTz.
GRAND MARCH AND QUICKSTEP.
For the Boston Brass Band.
South BRIDGE WALTz.
MAvERICK GRAND MARCH.
Dedicated to Major I. M. Barton, Boston.
BRISTOL MARCH.
STOUGHTON WALTz.
Dedicated to Miss A. Littlefield.
Gov. KING's GRAND MARCH AND QUICK-
STEP. e
43
1840 THE SISTERs.
An Air with Variations, to Misses L. M. and H. N. Fearing.
“ TRIP TO PAwTUCKET.
‘‘ PAWTUCKET WALTz.
VOLUMES OF MUSIC.
THE GENTLEMAN's FAvorite SELECTION OF IN-
STRUMENTAL MUSIC.
Published at Dedham, Mass., about 1805.
THE PROvIDENCE SELECTION OF PsALM AND
HYMN Tun ES.
Printed by H. Mann & Co., Dedham, 1815. 127 pages, 11o pieces.
It contains of Mr. Shaw's compositions:
ORDINATION ANTHEM.
OUR Sorrows AND OUR TEARs.
Duet, Trio, and Chorus.
God Moves IN A MYSTERIOUs WAY.
Hymn.
PALESTINE.
A Set Piece.
SING to the Lord Above.
Duet and Trio.
AT THIS UNwonTED Hour. CHRISTMAs ODE.
Solos, Duets, Trios, and Chorus.
44
Morning.
Soprano and Bass Solos and Trio.
RISING TEMPLE.
Solos, Duets, and Chorus.
ERE GOD HAD BUILT THE MOUNTAINs.
And the following Hymn Tunes:
BENEvolent STREET.
MEETING STREET.
PLANET STREET.
PLEAs ANT STREET.
PRESIDENT STREET.
SACRED MELODIES.
Selected from Handel, Haydn, Mozart, Beethoven, and others, with several
original compositions, arranged with an accompaniment for the piano-forte or
organ.” By Oliver Shaw. Miller & Hutchens, printers, Providence, 1818. A
quarto of eighty-four pages, and contains forty-two pieces of music.
Among them, of Mr. Shaw’s compositions, not before published:
ERE GOD HAD BUILT THE MOUNTAINS.
AN UNBOUND BOOK WITHOUT TITLE.
Apparently for the use of the Psallonian Society.
It contains six pieces, four of which are long anthems, one of them the
Millennium Anthem.
45
SACRED SONGS, DUETS, ANTHEMS, Etc.
Composed and arranged with an accompaniment
for the
Piano-ſorte or Organ,
By
OLIVER SHAw.
It consisted entirely of his own music. It has sixty-one pages the size of a
full music sheet. It was copyrighted and entered in the Rhode Island District,
1823.
ORIGINAL MELODIES.
Consisting of Airs, Waltzes, Songs, etc.
Intended as progressive pieces for the Piano-forte.
1832.
THE SOCIAL SACRED MELODIST.
Consisting of
Songs, Duetts, Anthems, etc.
Composed and arranged with an accompaniment for the Piano-forte or Organ,
And respectfully inscribed to all lovers of Sacred Harmony,
BY OLIVER SHAw.
SHEPLEY & W RIGHT, Printers,
No. 32 Congress St., Boston.
1835.
46
UNIVERSITY OF MICHIGAN
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3 9015 07999 6503