56 Wesley and the Wesleyans
In about 1754 John Wesley, determined to protect his soci-
eties fr om a musical culture which he regarded as preventing
effective religious worship, arranged for the publication of
a collection of tunes under the title Har monia Sacra. In the
Preface to a second version, Select Hymns with Tunes Annext
(1761), he commented modestly: ‘I believe all unprejudiced
persons who understand music allow that it [the collection]
exceeds beyond all degrees of comparison anything of the
kind which has appeared in England before.’ He attacked the
‘masters of music’ on the same grounds as Temperley, that
their arrangements buried the tunes, handed the service over
to the choir, and made it impossible for the congregation to
sing the words.
He went much further in 1779, in a brief essay called
‘Thoughts on the Power of Music’, asserting that ‘our com-
posers do not aim at moving the passions ...what has coun-
terpoint to do with the passions?’ He contrasted this state of
affairs with the music of the classical Greeks, which had, he
claimed, all the emotional power denied to those whose taste
had been corrupted ‘by attending to counterpoint and com-
plicated music’. No sensible person, he said, would deny the
greater effectiveness of ancient music, ‘for it would be deny-
ing the faith of all history’, that is, the authority of all classical
texts,includingthe Bible.
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The style of argument, the reliance
on what had so long possessed authority, the habitual disre-
gard for the growing practice of historical criticism, vividly
illustrated his intellectual limitations as a leader, his lack of
sympathy for anything which he had not been taught when he
was young, the difficulties confronting any attempt to present
him as influenced by the Enlightenment. But his anxiety, not
just to make the words and teaching of the hymns accessible,
but also to excite the passions of his congregations, should be
noted. This was more than a Protestant devotion to the Word;