SHAKER MUSIC

The study of music was a basic feature of education among the Shakers. In the early days, songs were learned orally, and communicated from one Society to another, by word of mouth.

The first person to urge the study of music was Brother Abram Whitney, a teacher of music, and a member of the Shaker Society at Shirley, Mass. Upon solicitation, Brother Abram visited Canterbury and Enfield, N. H., and gave lessons in the rudiments of elementary music.

About 1821 he, with the help of other inventive minds, developed a form of musical notation, called Shaker Script or Letteral System, so named, because of the use of letters, instead of the conventional round notes. In this method, the first seven letters of the alphabet, were used. Capital letters were whole notes, small letters designated quarter notes, while Italics were used for eighth notes, and half-notes had a line added to the side of the letter.

In 1843, a Shaker brother from Mt. Lebanon, N. Y., by the name of Isaac N. Youngs, changed this method, and used only the small letters of the alphabet, and altered the system of designating the tempo. He published a pamphlet, entitled “A Short Abridgement of the Rules of Music”. Later, Russel Haskell of Enfield, Conn. wrote “A Musical Expositor”, or a treatise on the rules and elements of music, about the year 1847.

In 1852 our beloved Elder Henry Blinn, of Canterbury, had a set of letteral music type made, from which he printed a book, entitled “Hymns and Anthems”. When the Manifesto, (a magazine which was published at our Canterbury Society, and which had a fairly wide circulation throughout the country) was printed Elder Henry Blinn, the editor, realizing that many people of the world, as well as Shakers, were reading this publication, thought it best to use a note-system more universal than the old Shaker Script system, as each number contained a Shaker Hymn. So he advised the return of standard notes, commonly used by the world. Thus in 1871 the round note-system came back into Shaker use. And so, about that time, the “Repository of Music” was printed, right here at Shaker Village, containing the elementary and advanced lessons from the works of able teachers, and showing the more universal note-system used by the outside world.

Some years later the Shakers of Canterbury hired Professor Davis of Concord, N. H., to give a course of lessons in music, adding further to the knowledge that had already been gleaned from 10 Brother Abram Whitney. Progress was rapid, as brethren and sisters, desiring to add greater dimensions to their religious expression, diligently labored to learn all that was offered.

Soon the answer to a continuous desire to learn, came with the introduction to the Society, of a Dr. Charles Guilmette, of Boston. Doctor Guilmette was a superior teacher of vocal music, both in theory and in practice. He proved to be, not only an accomplished vocalist, but an elocutionist and physician as well. Continuous lessons in correct breathing and tone-production, awakened in all, an even deeper interest in singing.

Formation of classes in singing soon followed, composed of groups of children as well as adults. Soon we had numerous well-executed trios, quartets, and double-quartets or sextets. Family singing-meetings were held twice a week, at which each group presented selections for the enjoyment of the family. Vocal training became a “must” with the Shakers, and a high standard of quality music was soon attained.

Elder Arthur Bruce of Canterbury, a gifted musician, before entering the Society, and a brilliant baritone, in his own right, formed and directed a Shaker Ladies Quartet, called the “Qui Vive Quartet”. Under his direction, and with the added assistance of visiting musicians, the quartet acquired a perfection which brought many requests for their concert performance, from various parts of the country.

The quartet sang entirely without accompaniment, and could sing, at a moment’s notice, over 100 selections from memory. Nearly all of these songs were arranged by the members. As an illustration of the cooperative spirit of the Shakers, the instruction received by this quartet, was freely shared with the younger singers, resulting in a family chorus of unusual quality.

First attempts in singing in harmony, by the family, were ventured in the 1800’s, but only melodies were used in Church Service. These melodies contained lessons in practical Christian living, and were often more impressive than the spoken word. One of these was a gentle reminder in song, of the importance of loving, daily association.

Much of the music used in our Church Service, we believe to have been inspirationally received by members so gifted. Eldress Dorothy Durgin, who was especially adept in this gift, kept a slate by her bed, upon which she wrote the spiritual messages which came to her in the night or early morning hours. She would then pass the words to the one for whom she thought the message was intended, saying “I thought of you when these words came to me”.

Some of these messages were accompanied by melody, others were set to music at a later date. And even today many of these songs remain the most loved ones in our Canterbury Hymnal. One of these, an especial favorite, reads as follows:

These inspirational hymns were not confined to any one individual as in every Society there were many members so gifted. The Christ Spirit could easily find expression, where hearts were dedicated to His Service.

Eldress Dorothy Durgin, who was born in Sanbornton, N. H., entered the Society at the age of 8 yrs., after the death of her mother. A lover of children, she was given the care of 24 12 little girls, while still a young woman. Because of her interest in the youth, she was appointed teacher of the District School, where she taught for six years. Her qualities of leadership were tremendous, so it was only natural that she be appointed to the order of Eldership, at the age of 24 yrs., which position she held for 50 yrs. She was, probably, without parallel, as a writer of hymns, and, during her lifetime produced over 30 inspired songs.

Few persons realize the tremendous effort involved in tracing the authors of our Shaker Hymns. We have always considered that those who received them, were only the channel through which these inspirational messages flowed. In other words, we believe that when an individual is thoroughly consecrated, the personality is lost in the spirit of Christ.

If it wasn’t that we have remembered the circumstances connected with these hymns, their authorship would have been purposely submerged. For our Hymn Books bear only the name of the Society, where the hymn was composed, never its author.

But recently, and only after the author had passed away, did we consent to give out these biographical facts, for we believe that a talent to create a work of art, to invent or compose, is God-given. It is a gift, and we are but the tools chosen to be used in His service. We have, it is true, the power to increase these talents, by study and by application; but we are to take no credit for these gifts, for we are merely His instruments, and they are loaned to us, to be used for the blessing of others. One of our lovely old hymns ably expresses this sentiment in the words,

Music used in Church Service was without instrumental accompaniment, as the mixed voices of the members, formed an adequate chorus. However, as diminished numbers left the singers without the assistance of male voices, an organ was introduced for vocal support.

Many persons are curious as to the reason for using dancing or marching, in our earlier religious services. It is amazing how much sound reason is behind the thinking of the early Shaker leaders, and how much psychology was employed.

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It was the belief of the Shakers that every faculty should be used in the worship of God, and so, various forms of physical exercise were introduced, particularly the March. A group of eight or ten singers, occupied the center of the room, around which the members marched in perfect formation. It was with a graceful, rhythmic motion of the hands as the members marched to the slow or quick tempo of the music.

Dancing, or the March, was not such a strange occurrence during a religious service of the early days of the Church. We have mention, in the Old Testament, of David and Miriam dancing before the Lord. Also there are 19 instances where dancing is mentioned in the Mosaic Law.

There was also a definite psychological purpose behind the Shaker marches, seldom explained, and rarely understood by the general Public. The perfect rhythmic body motions, of a worshipper, who combined this activity with a deep mental and religious fervor, developed within himself, a great spiritual inspiration, almost impossible to understand or describe, by one who has never witnessed or participated in this form of worship. But if one could have been present, as I was, and could have seen the perfect spiritual union, that was produced, when a soul combined the physical motions, the singing voice and the dedicated heart, in giving praise and thanks to God—I’m sure you would have agreed that the physical motions added a still greater dimension to the expression of Prayer. However, as years passed, and older members were unable to join in these marches, the exercises were discontinued, as it was considered necessary to maintain a perfect union among the members, a service in which all may participate as One.

Today, our Church Service is quiet and more formal, resembling, perhaps the Prayer meetings held in many of the churches of other denominations.

The first organ was introduced into the Society, by Elder Henry Blinn. It was one of the first built by the Prescott Organ Co., of Concord, N. H., and can be seen today, still in working condition, in our little Museum, right here at the Canterbury Village. When purchased, it was placed in the School House, where the members gathered for instruction in the reading of notes.

The introduction of instrumental music was quite an innovation among the Shakers. Eldress Dorothy Durgin felt that 14 music added refinement to a young person, so she made a trip to a Music Company in Boston, to negotiate the purchase of a second organ for instrumental practices.

Eldress Dorothy possessed a gracious, winning personality, and so impressed the proprietor of the Company, that he presented the Society at Canterbury with a fine cabinet organ. The first piano was introduced in 1872. Later, pianos owned and brought in by those who joined the Society, provided added facilities for instrumental practice.

In order to encourage this musical movement, Eldress Dorothy held monthly recitals, at which each pupil was represented, everyone, from the beginner, who could do but simple finger exercises, to the more advanced student, who could, perhaps, master the difficult music of the classics. Every child who desired, was given the opportunity for musical instruction whether so gifted or not.

Soon other instruments found their way into the Society, and an orchestra was formed composed of 2 violins, cornet, bass-viol and piano. Some years later another orchestra was organized comprising 2 violins, a cornet, cello, 2 saxophones, drum and cymbals and pipe-organ and piano. This orchestra was under the direction of Professor Nevers of Concord, N. H., who also directed the well-known Nevers Band of Concord. The Society at Sabbathday Lake, also formed a small, but fine, orchestra. Indeed every Society made the study of music a part of their educational life.

On special days such as Easter and Christmas, the members arranged concerts, at which time they presented selections from Standard Cantatas, such as Gaul’s Holy City, Handel’s Messiah, Haydn’s Creation, Mendelssohn’s Elijah, etc., plus many choruses of our original composition.

On Christmas morning the young people greeted the family, as they assembled for breakfast, with a beautiful Christmas Carol. One especially impressive and original arrangement, was called “The Celestial Choir”. As the family assembled for breakfast a small group of singers, started singing on the attic stairs, and, as they descended, others joined them on each loft, resulting in a full chorus of voices, as they approached the lower hall, after which they joined the family in a well-prepared Christmas breakfast.

God’s gift of Music has always played a most important 15 part in the life of the Maine Societies. The library of the family at Sabbathday Lake reflects the breadth and richness of Shaker musical tradition. Not only does the collection contain the earliest known Shaker musical manuscript dated 1802, but it serves as a guide to the musical history not only in Maine, but of all the other Societies. In some manuscripts, hauntingly beautiful melodies, in a minor key, written over 175 years ago, before the gathering of the Societies in Gospel order, mingle with the impassioned and moving hymns, given under inspiration, by the Holy Spirit.

In discussing Maine Shaker music we cannot pass over the name of Otis Sawyer who for nearly fifty years served the Cause of Christ; first as Elder of the family at Poland Hill, later as Elder of the Church Family at Sabbathday Lake and finally as Spiritual Head of the Maine Ministry.

Elder Otis is responsible not only for the words and music of countless lovely hymns, but also the untiring compiler of things musical in Maine. Due to his efforts we have preserved over 500 inspired hymns from Alfred, Gorham, Sabbathday Lake and Poland Hill.

One of the most talented musicians ever to have lived the Shaker life in Maine, was Elder Oliver Holmes. Altho’ he died in 1841 fond memories of his great gift of song, and of his musical inventiveness still remain.

It is of interest to note that “The Gift to be Simple”, the Shaker song, perhaps best known to the world, chiefly through Aaron Copland’s having used it in his “Appalachian Spring”, is from Maine, having been composed by the Ministry of Alfred.

We must mention, too, the names of two sisters, important for their contributions to the world of Shaker Music. To Aurelia Gay Mace, the versatile Chronicler of Maine Shaker history, we owe, not only the preservation of several remarkable manuscript collections, but also a wealth of highly personal and original comment both on the songs, popular among Believers, and the manner in which they were sung. To Sister Aurelia we are also indebted, for much of our knowledge of the March in Worship, and the interaction of song and March.

Eldress Mary Ann Gillespie was the composer of many beautiful hymns during the period immediately following the Civil War. One of the best loved of her hymns is entitled, “Watching and Praying”. The words follow:

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The musical education of the Shakers has certainly come a long way, since the days of Brother Abram Whitney’s letteral notation and the simple melodies of our early founders. Today, many of our hymns and anthems are much more elaborate as you will note in a later Shaker Anthem, entitled “Rejoice”. Although, perhaps, rather empty without the addition of a full chorus, you will get some idea of the quality of the composition, as I play it on the organ. The present day Shaker Hymnal contains many beautiful hymns and anthems. Some were arranged and harmonized by members, using various Scripture texts, while others were the musical expression of those simple, sincere soul-breathings from the dedicated hearts who were imbued with the spirit of the first Christian founders. One of these hymns ably voices the universal faith of the Shakers, whose hearts deeply feel for those, their brothers, who suffer and are in need of love and assistance. The following hymn, entitled “Universal Prayer”, is one of many, which are sung in our Church Service, in loving thought of others.