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TO
THE BELOVED, HONOURED, AND CHERISHED
MEMORY OF
W. H. HAVEFfQAL,
WHO, WHILE OX EARTH,
Praised the Lord,
AND NOW
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THIS VOLUME
IS AFFECTIONATELY DEDICATED
BY HIS WIDOW,
C. A. H.
INTRODUCTION.
<2^
5TLN issuing the present volume, at the urgent request of friends, I desire (^ to do some measure of justice to the memory of my beloved and lamented husband, whose labours in the cause of Holy Psalmody befitted the reverence due to the Praises of God, and the needs of His Church on earth.
The object aimed at throughout this work is to comprise, in a careful selection, such a number of tunes, varied in character and measure, as shall best serve for congregational edification and general use. To these are added Hymn Chants, Kyries, and Glorias, and a Te Deum Service, chiefly as specimens of what was approved by the Composer.
Those tunes now first published are taken from manuscripts, jotted down as composed, without revision or, as I believe, thought of publication. The entire arrangement and preparation has devolved on his youngest daughter, to whom the earnest endeavour faithfully to follow her revered father's strict principles and high standard of Church Music has been a delightful employment and labour of love. The friendly advice of the Rev. Sir F. Ouseley, Bart., respecting a few tunes, was requested and most kindly given, for which I beg to offer my sincere thanks. Also to T. Kilner, Esq., and other friends, for general interest in the work.
With unfeigned humility, as unworthy of being even instrumental in presenting the sweet strains of my gifted husband to the Church, I now offer them, with the prayer, that all who use them here below may one day unite with the sainted Composer in singing the everlasting melodies of heaven !
C. A. HAVERGAL.
Leamington, May, 1871.
I. jrjcfatorg jjkmarks ta (flfo <&jntrrij |1sahnotw,
1847.
THE DISTINCTIVE CHARACTER OF OLD TUNES
Has long been out of common recollection. Simple and easy in their phrases, and always syllabic in their partition, the commonest ears and least cultivated voices could master them. But, simple and easy as they are, they never are vulgar, insipid, or boisterous. Grave, but cJicerfd, dignified and cliaste, they are admirably adapted to meet a great variety of language, and to foster a calm and earnest devotion. One test of their excellence, and of their intrinsic fitness for Church use, is the fact, that, little as flippant and self-willed singers may like them, all persons of sober taste and devout feelings delight in them. Many individuals, too, who, from early initiation, have been accustomed to tunes of a more light and trashy character, gradually come to a right estimate of those which are opposed to that character.
The harmony to the old tunes was sometimes of the simplest sort. The first of the Common Metres in this volume,* a tune set by Thomas Tallis, is a beautiful instance of severe but pleasing simplicity. Generally speaking, however, the old harmonists were inclined to a little cleverness in counterpoint. While they studied simplicity for the congregation, they rather aimed at ingenious harmony for the choir.-f But, whether simple or ingenious, their harmony retained the following characteristics: I. Tuncfidness of progression in all the parts. 2. Contrariety, or obliqtcity of motion between the extreme parts. 3. Fulness of combination ; fundamental chords being preferred to half chords. 4. Closeness, or fitting distribution of the parts as to relative distance. 5. Avoidance of certain cJiords and discords. 6. Frequent intcrcliange of major and minor chords.
* [No. 44 in " Havergal's Psalmody."]
t To say nothing of foreign composers, of whom Claude le Jeune was the most eminent fcr this species of harmony, the oldest English Psalter, yet known, contains truly remarkable specimens of the clever setting of Psalm Tunes. The Harmonized Psalter, published by John Day, 1563, and which perhaps was commonly called " Parson's Psalms," abounds with modest ingenuities. The version of the 44th Psalm, " Another of the same, by R. Brimle," is uncommonly beautiful. The close of it is a clever instance of writing " In Reports/' i. e., briiiging back some part of the tune, and turning it into a short fugue.
ii Prefatory Remarks to Old Church Psalmody,
From extensive and careful observation, the Editor is confident in saying, that the beau ideal of psalmodic harmony used to be tuneful progression of the parts, or the so constructing those parts, especially the Cantus and Medius, that of themselves they would constitute melodies, and, as the phrase is, " sing well." Indeed, the older harmonists seem to have been more ambitious of this sort of pleasing progression than of any other excellence. It is clear that they sacrificed little proprieties in order to secure it. They thought less of fulness and closeness, and even of proper consecutives, than otherwise they might be supposed to think. Not that they were inattentive to them, but everything was made subservient to melodic progression.
Their next especial aim was the writing of extreme parts in contrary or oblique motion. Direct motion between those parts certainly is not common. For want of attention to this fact, some editors, by printing new or inverted parts to the literal Basses of old tunes, have made the original harmonists appear guilty of what they are most innocent. Those Basses, upon reference to original copies, will be found set, not to the Tune or Tenor only, but to the Cantus or Treble part above both it and the Medius, or Counter Tenor. Hence, although the Bass may often proceed in direct motion with the Tenor, as an inner part, it goes in contrary motion to the Cantus, as the upper part.
In the avoidance of certain chords and discords, few instances, as opposed to modern practice, are more remarkable than what pertains to the f, the 4, and the minor seventh. The 4 is never used ; nor was it employed by either Handel or Corelli. (See page xi.) The 4 followed by I upon the dominant,' before a final close, in the major mode, and where the sixth is the highest note, is not frequently met with. Other forms of that chord are common enough, but this one, now so usual, is not common. Indeed, the old harmonists took pains to avoid it ; and some German harmonizers of old tunes adopt new methods of escaping it. Except as a passing note, on the unaccented part of the measure, a minor seventh on the dominant is of rare occurrence. The ears of our forefathers would have been sadly startled by the secularity of that seventh, as now frequently employed in modern Psalm Tunes, as also by the running of Bass and Treble widuly in thirds, or other " similar motion," by the introduction of, what of old was intolerable, consecutive major thirds between the extreme parts, and by the making the dominant in the Bass to ascend with the leading note in the Treble, to the tonic, which the old masters especially eschewed, except when absolutely unavoidable.
Among old tunes were many more in the minor mode than we now use. Nearly
Prefatory Remarks to Old Church Psalmody. iii
half the tunes in Ravenscroft's Psalter are minors. Double tunes, too, were far more numerous than they now are. Long and short metre single tunes, especially the former, were scarce. Trochaics are not to be found in the Church Psalters. Orlando Gibbons wrote two or three for George Wither's " Hymns and Songs of the Church ;" but we are obliged to search German Choral Books for any stock of old Trochaics.
The TIME and PITCH of tunes, in older days, were not exactly as they now are. Singers formerly sang with good speed. A dozen verses, reduced to six by a double tune, formed a very moderate portion for one occasion. The modern drawl, which makes four single verses quite long enough, was, most likely, occasioned by innovations upon the syllabic style, in the early part of the last century.* When crotchets, quavers, flourishing turns, and " part tunes/' as they are called, found admission into Parish Choirs, a slowness of performance necessarily followed. The introduction, also, of tunes in triple measure, where the accented semibreve or minim is divided into two slurred notes, (such as Abridge, Irish, Rockingham, Manchester, &c.) was fatal to the continuance of pure psalmody. All such tunes occasion a slow and languid utterance, and oblige an unwelcome curtailment of the original words. (See page xii.)
As to the pitch at which tunes were sung, some of the " Introductions to Singing," published in the last century, leave us in no doubt. They disclose the fact, that the keys, or scales, in which the tunes were set, were no criterion as to the pitch in which they were sung. They were mostly set in only two or three keys, to suit the convenience of the printer, as to leger lines, and accidental sharps or flats : but they were sung at any pitch which best suited the singers. Now that the organ has banished the pitch-pipe, it is very desirable that our organists should be able to transpose at sight, or that they should possess copies of the same tunes in two or more keys. Weather, temperature, health or power of particular singers, difference between morning and evening, character of words, and sundry minor circumstances, frequently render a change of key, higher or lower, very expedient.
But, in stating the distinctive character of old tunes, it would be an omission not to mention the constant practice of beginning and ending each strain with a full chord; and the almost constant use of the Tierce de Picardie, or major third, at every close in a minor mode ; -f- as well as, on the contrary, the utter abhorrence of everything appoggiatural in the melody. The old tunes contain no instance of that mawkish
* Dr. Watts complains of the slow method of singing in his day. He wished for more stanzas than " five or six," and " a greater speed of pronunciation," which would be more agreeable to the psalmody of the ancient churches.
t [In this edition the Tierce de Picardie has been generally omitted, as less accordant with modern use. As an instance of its retention see Spires, No. 29.]
iv Prefatory Remarks to Old Church Psalmody.
hanging upon the sixth or fourth, which now so secularizes most modern tunes. They settle at once, in a firm and masculine style, on the fifth or third. Nor must one other distinctive feature be overlooked, though inconsiderable in its extent, and well nigh forgotten. In old psalmody, whenever a discord was used, it was sung in suspension. The note which formed the discord was sounded to its syllable in preparation, and held till it was resolved. Modern practice discards this elegant custom ; chiefly, it is probable, because it involves some little syncopation to which ordinary singers are not trained. The custom is, however, retained in several tunes in this work (e. g.} Bristol), with as much attention to accentuation as circumstances allowed.
The peculiarities which have been enumerated may be advantageously revived and followed ; but there are
OTHER PECULIARITIES,
which altered times forbid our following. The oldest tunes are remarkable for broken or syncopated rhythm. They are not commonly composed of notes of equal length, in corresponding position ; but comprise semibreves and minims rather capriciously disposed. The tunes in the old Genevan Psalter are famous specimens of this sort of irregularity. Ravenscroft, in 1621, seems to have delighted in it; for he actually printed melodies with more rhythmical syncopations than even older copies contained. It was not till Play ford's era, about 1670, that the old church-tunes began to be written with equalized notation.
Another peculiarity, which cannot be adopted in our present use of the old tunes, is the early custom of assigning the tunes themselves to Tenor voices, and setting, for Treble voices, a merely harmonic part above. The custom continued, in lingering use, till the latter part of the last century ; but the present generation is hardly aware of its ever having existed. The origin of the custom may be attributed to the circumstances of the times. Coeval with the Reformation, psalm-singing became so general, that thousands of people singing together in massive unison was a common occurrence. To relieve the sternness and monotony of such singing, skilful musicians, even the best masters of the day, composed parts of the popular tunes in such manner as allowed them to be sung by all the people, without alteration or interruption, and yet with sufficient embellishment to please the lovers of harmony. The effect of such singing, as Bishop Jewel* describes, at Paul's Cross, and as
* Zurich Letters, Parker Society, vol. i., p. 77.
Prefatory Remarks to Old Church Psalmody, v
Master Thomas Mace * descants upon, in York Minster, must have been magnificent and affecting beyond what any modern specimens can boast. This custom of composing ornamental, as well as essential parts, to plain tunes, was grateful to a choir, and encouraging to other singers. It allowed the congregation to sing what they well knew, and yet furnished variety to the choral body. For, as time advanced, the custom expanded ; and the same tune used to be set by sundry masters in sundry ways. Thus, by using old tunes in new dresses, the few became many.
THE CONSEQUENCES OF THESE EXCEPTIONS
are not inconsiderable. We cannot, conveniently at least, use the old tunes, in their earliest forms, either as to their melodies, or as to the manner in which they were harmonized. The melodies were subject to frequent alterations, both by editors and harmonists. Printers, too, in no trifling degree, originated or copied mistakes. In some instances, so great are the variations, that hardly two copies can be found to correspond. Hence, the utter uselessness of talking of original versions of old tunes. There are no such versions for certainty to be had ; and if we really had them, wTe most likely should decline using them. The origin of our old tunes is covered with the darkest obscurity. Indeed, that origin seems to have been disre- garded. Excepting a few German tunes, nothing is known about the authorship of any. Consequently, we must explode the fallacy of reprinting old tunes with the names of certain old authors, as either the framers of the melody, or the composers of the harmony. The fallacious practice has, of late, become frequent. It is high time to denounce it.
It may be taken as an indisputable fact, that in earlier times little or no account was made of the authorship of the tunes themselves. What chiefly was regarded, was the harmonizing of the tunes ; or, as the phrase of the day expressed it, the "composing them into parts /' 'f for writers of the olden times used the term "compose" in its Latin sense, not as meaning to make or frame a melody, but to "put together" certain parts which would harmonize with that melody. To all such labours the harmonists carefully put their names, and editors as carefully published
* Musick's Monument, pp. 18, 19.
f Oversight of this fact has occasioned a mass of error, in recent publications, which will not easily be removed. Editors, in their desire to give some information respecting the authorship of tunes, have superscribed the names of individuals, who, in a very different manner, may have harmonized those tunes, but who did not frame those tunes themselves.' Tunes have, consequently, been assigned to Douland, Ravenscroft, and others, which were in existence before their birth.
vi Prefatory Remarks to Old Church Psalmody.
them * But, as the same tune was harmonized by many individuals, it is idle to put to it the name of any one, as though he were the sole harmonist of that tune. Besides, if he were the sole harmonist, we can no longer use his harmony precisely as he arranged it. We are obliged, to turn his Tenor into a Treble, and make corresponding alterations in the other parts. Our conclusion, therefore, is this : — Whoever undertakes to reharmonize old tunes, must be independent of everything but their style. That style has been lamentably neglected. The present work is an effort to restore it.
MODERN COLLECTIONS
of Psalm tunes differ greatly from old collections. The efforts of editors in the last century, and in the early part of the present, tended to discard what was old and good, and to introduce what was new and bad. These tendencies gradually increased. Until Dissenting bodies began to publish collections of tunes, the many local collec- tions by country churchmen generally contained a majority of the old and good. But the plague of sing-song, glee-like productions then spread into almost every part of the Established Church.
It has long been complained that collections of tunes are too numerous. The real grievance is, they are too faulty. Some are vicious and injurious ; others, from the medley they contain, are of little value. Even the few which profess better taste, fall into incongruities, or afford dangerous precedents under hope of alluring to a higher standard. [N.B. — Written in 1847.] The chief fault of this class is not merely the introduction of questionable tunes, but the spoiling of good tunes by inconsistent harmonization. Modern harmonies are set to ancient melodies. The harmonies are such as were purposely avoided when the melodies were composed. This fault paves the way for, or perpetuates, other faults ; especially that of not preserving a distinction between what is secular and what is ecclesiastical in style.
THE INTENTION OF THE PRESENT WORK
is to supply a desideratum : for the editor is not aware of any volume which contains only such tunes and such harmonies as strictly accord with the style of
* " Honest John Playford" put his name to every psalm tune, new and old, in his folio of 167 1 ; but he never imagined that he could be supposed to claim the authorship of the tunes themselves. His "Solemn Music" was the harmony " On the Common Tunes to the Psalms." Este and Ravenscroft had done the like long before.
Prefatory Remarks to Old Church Psalmody. vii
those times, when psalmody seems to have been best understood. The date of Thomas Ravenscroft's Psalter, 162 1, may be reckoned the zenith of those times.
In compiling " Old Church Psalmody," anxious attention has been paid to the rules and taste of the times alluded to. No composition of any living author is introduced ; nor any of a later date, which does not accord with the style of an earlier age.
THE TUNES IN THIS VOLUME
have been selected with an eye to utility, and not to curiosity or learned excellence. Many a tune has been omitted, because, though heartily liked by the editor, it would not interest most persons. For this reason, he has not adopted more of the oldest tunes in double measure, and in a minor key. Those tunes are not lost* They can easily be obtained ; and where they are admired, ability will not be wanting to prepare them for use. Other tunes, also, are omitted, because of their similarity to some which have been inserted. So similar, indeed, are not a few old tunes, that the probability is, they are merely varied versions of certain originals. There are also, among psalmists, as among other classes of composers, certain stock phrases, which are regarded as common property. In the present selection, it has been impossible to avoid them. They would have been more numerous, but for the omissions alluded to. When they occur, or whenever part of a tune is repeated, old practice has been followed by harmonizing them in a varied manner.
For the harmony of the following tunes, with two exceptions only, (Tallis's Common Metre, and Alison's Winchester,) the editor is entirely responsible. In a few instances, and wherever he could, he has literally followed parts of certain tunes as harmonized by certain persons ; but generally he has practised that independence which he has recommended to others.
THE RHYTHMICAL FORM,
which, out of many, the editor has adopted for most of the tunes, may be objected to ; but it is generically the old form, the traditional form, and the only one which all
* Este's Collection, 1592, has been edited by Dr. Rimbault, for the Musical Antiquarian Society : and Ravenscroft's, 1621, by the editor of the present work. To the Preface of the latter publication, readers are referred for a fuller account of old tunes ; also, to Hackett's " National Psalmist," and the Rev. J. Fawcett's " Lyra Ecclesiastica ;" the Prefaces to which are by the writer of these remarks.
viii Prefatory Remarks to Old Church Psalmody.
singers feel to be natural. To make the first and last note of every strain a semibreve, may appear somewhat untheoretical; but the appearance is confined to the music- paper, without any strangeness affecting the ear.
In addition to Mr. YluMztis practical and proper remarks upon the subject, ("The Psalter," p. xviii.) the following suggestions may still further " tend to settle difference of opinion." Old psalmists do not always assign a semibreve to all the parts at once, in the commencement of a strain. Frequently, the Bass sounds the fundamental note as a semibreve, and other parts follow a minim after. Hence, the commencement- notes may be regarded, as in Chants, the precursors, ad libitum, of the rest. They may be considered variable in their rhythmical use, affording liberty of extemporaneous adaptation to long or short syllables. Terminal notes are always allowed to be elastic, and why may not the initial ?
In measuring or barring the Trochaic tunes, the editor ventures to be singular ; because he fully believes the universal practice to be wrong. Hitherto, Trochaic Tunes, when written with four minims in a bar, have been made to commence, in every strain, with a full bar. The consequence is, that the final note of every strain, instead of falling on what carries the appearance of the fully accented part of the bar, falls on the seemingly weaker division of it. By a very simple process, this common defect is now remedied. After all, it must be allowed that little exceptions may be made against even the best rhythmical arrangements ; for, whether we write tunes precisely as they should be sung, filling up spaces with rests, or occupying them with notes of entire quantity, or whether we depend on double bars, and allow conventional usage — there will probably remain some little hesitation on the minds of some persons. Good sense, however, and steady practice, will render all difficulties very little discernible.
CONCLUSION.
The old tunes of the Church of England ought not to be otherwise than interesting to every English churchman. If it be remarked, that in the present collection, there are many of German or Genevan derivation, it should be recollected that, between the old psalm tunes of England and the Continent, there is no essential difference. They have a common origin. Many even of our oldest psalter tunes were imported, by exiled Confessors, from Germany or Holland. The tunes of the Reformation, or of the age immediately following it, are like the doctrines of the Reformation — the same in character and tendency, whatever may be the quarter from whence they sprang. To have these tunes arranged for our use, will be accounted no mean privilege by
Prefatory Remarks to Old Church Psalmody. ix
those who value what should be the daily solace of our own hearts, and what cost many who sang them, their lives.
If, however, we would have these old tunes to perfection, we must attain more of the old fashioned piety with which they were formerly sung. Were it the motto of every choir, "Let the word of Christ dwell in you richly in all wisdom',' our congrega- tions would more efficiently " teach and admonish one another, in psalms and hymns and spiritual songs." But, if music be substituted for religion, and singing for devotion, the best tunes and the best voices will neither increase religion nor aid devotion. It is much to be lamented, that display bears rule where it is most out of place. Few choirs are exempt from its withering influence ; while it is generally found that those individuals who encourage it, by most indulging in it, are the first to give trouble by their conceit and self-will. A good, but humble-minded singer, is a singer of great value. By his good singing he may edify or encourage others ; while, by his becoming modesty, he can hardly fail to check, in his companions, those risings of arrogance which spoil many a choir. Simple as the following remedy may appear, when proposed as a panacea for all the ills of all choral bodies in our parish churches, it nevertheless is confidently prescribed ; — When the minister or the clerk says, " Let us sing to the praise and glory of God /" let all the choir in heart say, AMEN !
" The glorious Majesty of the Lord our God be upon us ! Prosper Thou the work of our hands upon us ; O prosper Thou our handy zvork /" — Ps. xc. 17.
W. H. HAVERGAL.
St. Nicholas Rectory, Worcester.
First Edition Nov. 1847.
Second Edition April, 1850.
Third Edition ». „ 1853.
Fourth Edition Feb., i860.
Fifth Edition „ 1864.
II.
1859
In the year 1847, the Composer of these Tunes published his "Old Church Psalmody."
The sale of that work fully realized the expectations of the publisher, to whom alone its pecuniary interest pertained. No sort of effort was made to bring the work into notice. Little more than a sovereign was expended in advertising it ; and no review was invited to recommend it. Its circulation, nevertheless, has been very extensive, and its practical influence confessedly great. Its editor takes no credit to himself for these facts, but gratefully attributes them to the growing readiness of thoughtful persons to acknowledge right principles and to follow correct taste, when brought out of the oblivion into which they had been so long cast. Testimonies to this effect from America and Scotland, as well as from every part of England, have crowded the editor's desk.
Till the publication of " Old CHURCH PSALMODY," including its Preface, the principles on which it was compiled had long been comparatively dormant. By its circulation, however, those principles have been so far revived as to be generally acknowledged ; while most editors of subsequent compilations have either culled its contents or made them the basis of their own works. Still it remains, as far as the editor knows, the only publication which fully and consistently adheres to that style of melody and harmony which is as classical as it is ecclesiastical, namely, the style of the Reformation age. Long trial has proved it to be the best for popular use. It is still the only style of the Protestant Churches of Germany, and the prevailing one in other parts of the Continent.*
To the statements and opinions advanced in the preface of the " Old Church Psalmody " the writer of them most firmly adheres, because he believes them to be grounded on indisputable truth. Upon a few points, however, about which inquiry has been made, it may be desirable at the present opportunity to offer some explanation.
* As a corroboration of what is here asserted respecting the Reformation style, the following ex- tract is both opportune and interesting. It is from " Bishop Coverdale's Fruitful Lessons," &c, (p. 471, Parker Society,) respecting " The Order of the Church in Denmark for the Lord's Supper :" — "And at the quire door beside the table of the Lord, stand two good sober singing men, which {commonly a quarter of an hour afore the sermon,) begin a psalm; and all the people, both old and young, with one voice do sing with them, after such a fashion that eve7y note answereth to a syllable, and every syllable to one note co?nmonly, and no more, so that a man 7nay well understand what they sing.'"
Prefatory Remarks to "A Hundred Psalm and Hymn Tunes" xi
I, — It has been asked, " Why may not the chord of \ be used in psalmody, seeing that the greatest modem composers use it in their sacred music?" The answer is — Such composers overlook certain facts: — I. That Handel, and all masters before him, sedulously avoided the chord,* as being inconsistent with the rule of the discordant character of the fourth, and the consequent necessity of its resolution. 2. That them- selves habitually treat the fourth as a discord in all other combinations, and thus incur the charge of inconsistency. 3. That sheer indolence in facing a difficulty is often the evident reason of their condescending to use the chord. 4. That, as the use of 3 instead of £ is one of the characteristics of the best age of psalmody (Ravenscroft, 1 621) the disuse of the chord in question is requisite for keeping up the purity of psalmodic harmony.
II. — It has also been asked, "What sort of ' little pi'opricties' are they which older harmonists were wont to ' sacrifice for the sake of a tuneful progression of 'the parts V '
They were chiefly of this sort : consecutive fifths and eighths by contrary motion, and even by direct motion, when that motion lay between the end of one strain and the beginning of another, or on the change of one mode or scale for some other. But of all the essential rules of counterpoint they were very observant. Certainly, how- ever, they avoided that class of licenses by which discords of any kind, without regard to preparation or resolution, are even studiously introduced. This sort of licentious counterpoint is almost a characteristic, and assuredly the blemish and bane, of several well-intended tune-books of recent date. They originate, apparently, in their compilers failing to distinguish things which differ, such, for instance, as, that a psalm tune does not admit what a glee may invite, or in venturing to introduce peculiar harmonies, which have been met with in some modern oratorio or concerto.
III. — It has, further, been asked, " Can any popular rule be laid down fur determining the 'greater speed,' or quicker time, recommended in the 'OLD CHURCH Psalmody ?'"
As a general rule, and in an ordinary congregation, a pendulum -f- of twenty inches will give, by each stroke right and left, about the fitting time for a minim. In tunes
* " Mattheson (Orch. I., 17 13, p. 128) rejects the fourth from among the concords and asserts its dissonant nature. Handel, Corelli, &c, have uniformly omitted it in the harmony of g . The theory of the one and the practice of the other seem to be, in this instance, justified by the want of melody in the intermediate parts, when the fourth is inserted." — Dr. Callcotfs Mus. Gram.. 2nd Ed., p. 172.
t An extempore pendulum can be easily formed by the plainest performer. A piece of string or tape tied to a pocket-knife, or any such article, will furnish the instrument.
xii Prefatory Remarks to " A Hundred Psalm and Hymn Tunes"
of triple time, Trochaic measure, or any sort of mixed measure, a line of fifteen inches will be expedient.
This rule, however, must be taken not absolutely, but elastically ; because massive congregations and resonant churches require a slower time than their opposites. Precentors, also, and organists, should devoutly study the character of the psalm or hymn to be sung, and regulate the time of the tune accordingly, especially if the tune be one of a solemn character.
The writer of these pages is well assured that his recommendation of a return to the speedier time of our Protestant forefathers has, in many places, been most beneficially followed. But he has reason to fear that, in some quarters, his recom- mendation has been carried beyond due bounds. Too great rapidity is as objectionable as too great slowness. The one is as liable to run into irreverence as the other is to sink into dulness. Devout consideration will always fix the true medium. (See page iii.)
IV. — As an apology for the continuance of modern secularities in melody and harmony, some stra?ige things have been deliberately said to the Author of the present work.
I. It has been said that, " Such harmonies are more acceptable to modern ears, and more familiar to modern singers, especially unlearned singers."
That such harmonies are " more familiar' to modern ears is the only reason why they are " more acceptable"' Modern ears are, in too many instances, vitiated ears. They have been accustomed to trashy melodies and illiterate harmonies, or to adaptations of popular airs.* This accounts for their acceptableness, and, at the same time, furnishes a strong argument for their banishment. Progressing experience proves that, where the good in congregational psalmody is properly substituted for the bad, the former is heartily approved. If, however, by the language used, with regard to " unlearned singers," it is meant that modern harmonies are more easy to such singers, then the rejoinder must be — This is a great mistake ! Taking the harmonies of the " Old Church Psalmody " as essentially representing those of the Ravenscroftian age, it may be confidently asserted that they are more easy than those of many a modern publication, inasmuch as they are less "stuffed with discords," less chromatic, less extreme in pitch, and, what is of prime consequence, far more tuneful, and therefore, far more easy to be attained and retained by " unlearned singers." The Author has been repeatedly certified of the validity of * On this topic abundant attestation may be found in Dr. Crotch's Lectures, pp. 77, 78, 81, 82.
Prefatory Remarks to " A Hundred Psalm and Hymn Tunes." xiii
these facts by competent precentors, and other teachers of choirs. On one occasion it was stated thus in a letter : — " The parts of the tunes seem like tunes themselves. Our men say they are so melodious that they can whistle them as they go home."
2. It has been said that " The rules of older harmonists can hardly be called exclusively ecclesiastical, inasmuch as they adopted precisely the same laws of harmony in the composition of their madrigals, and other secular productions."
It is, indeed, most true, that psalm-tunes and madrigals were harmonized on the same principles ; but it is equally true that the principles themselves originated with the psalmodists, and not with the madrigalists. It is certain that the world used to borrow its style of music from the Church. This fact is no argument for the Church now to borrow her music from the altered style of the world. Because the world has waxed wild and wanton in musical taste, the Church has greater need sedulously to adhere to her own pure, sober, and decorous style of both melody and harmony. It is as becoming for her to have a musical style of her own * as it is for her to retain her peculiar dialect, dress, and architecture.
It may be added, as already adverted to, that the Ravenscroftian style, once so extremely popular, either constitutes, or very nearly approximates, the true "via media" between modern secularities \ and those semi-barbarian antiques of " THE HYMNAL Noted," which never were, and never can be, popular.
3. It has been said that " It was always an allowed practice to clothe older melodies, from time to time, in newer harmonies, according to the altered usages and tastes of the age."
Again it may be said, It is most true that such practice was allowed. But again, also, an omission must be supplied, because the circumstances under which the practice was allowed do not seem to be duly considered.
The allowance was made only within consistent limitations. The laws of harmony observed by Thomas TallisJ and William Parsons, differed in no essential principle
* " Church music has a proper character of its own, which is more excellent than that of secular or profane music, and should always be preserved" — Rev. JV. Jones, af'N'ayland.
t It has recently been ascertained that the very popular tune, '• Helmsley," so generally sung to " Lo ! He comes, with clouds descending," is an adaptation from Miss. Catleys Hornpipe, in the " Golden Pippin? performed at Covent Garden Theatre, and published by Thompson in 1744. A copy from the original is in the possession of C. E. Stephens, Esq., Organist of the Parish Church of Hampstead, Middlesex.
X A tune in the key of G, of a rather sing-song sort, but containing a little double counterpoint, has been going the round of several recent publications, and assigned to Thomas Tallis. It has, at length, been proved to be merely an off-hand enlargement of an old chant, by a modern Organist of some talent. The Author is indebted for this fact to its indefatigable discoverer, and his worthy correspondent, Mr. J. C. Ward, Organist of Eaton Chapel.
b
xiv Prefatory Remarks to "A Hundred Psalm and Hymn Tunes."
from those of Orlando Gibbons and Thomas Ravenscroft, three-quarters of a century later. The chief difference between the two sets of composers was, that the latter was more graceful and fluent than the former. For full a century afterwards, the system and style which Ravenscroft substantiated was paramount in all the parochial choirs of our land. * As fast as new composers, harmonists, and publishers of psalm tunes sprang up, the utmost homage was paid to the labours of " Master Thomas Ravenscroft."
Hence, so far as psalm tunes are concerned, no such clothing of old melodies with new harmonies was extant, as that which has been too common in recent days. Unless, therefore, some proper limit be defined, and some consistent stand be made, the practice in question will take some new start on the inclined plane of extravagance.
The tunes in the present volume are selected from a much larger number composed by the Author during a rather long series of years. Hence, as he has not been in haste with those now published, and is quite content to keep out of sight more than double their number, he trusts he will be pardoned by younger composers for venturing to give them a hint or two. Let them, then, adhere to the best models, and eschew everything which tends to vitiate ecclesiastical style. Let them not be tempted to copy what may seem pretty or novel in an oratorio or semi-sacred composition. Prettiness and novelty, as generally understood, are out of place in psalmody. When they have composed a few tunes, let them be slow to give them publicity, but most ready to submit them to the severest tests. Delay in such cases will save from many regrets, and prove the most stringent critic to have been the best friend. Above all, let them regard the composition of a church tune as " a holy thing" seeing that it should be, as Jeremy Collier said, "fit for a martyr to sing and an angel to hear," and that it is intended to be the medium of the praise of many hearts at once before that Divine Mediator, who alone can render our music acceptable to the Triune God.
From what has been stated, it will be inferred, almost as a matter of course, that the tunes now published are framed after the model of those in the " Old CHURCH PSALMODY." Such, indeed, has been the aim of the Composer, though it is proper to confess that the later, rather than the earlier models, have been chiefly followed. In accordance with the stand which is avowedly taken, melodious progression of the
* " It has been rightly observed that the music from the Reformation to the Restoration was more plain and solemn in its style than that which succeeded, though it still preserved great excellence." — Rev. W. Jones, of Nay land.
Prefatory Remarks to "A Hundred Psalm and Hymn Tunes." xv
parts* has been studiously attempted. To further this desirable purpose, most of the tunes have been composed " on a subject," i.e., some other part, besides the treble, but generally the bass, repeats the melodic phrase which characterizes the tune. This repetition is not always in the octave, but frequently in the fifth. Devices of this sort were formerly in much repute, but in psalmody they are of no practical value, unless they are really pleasing. The ear, and not the eye, must be the sole arbiter. In the instances at hand, no sign of the subject, or mark of its repetition, has been inserted. It may interest the student to discover the idea, while the unlearned singer or per- former is neither J:he wiser nor the worse for it. Only, it may not be inopportune to remark, that some of the most artificial tunes in this volume have been decidedly the most popular.
To some of the shorter Trochaic measures a Hallelujah has been appended. In each instance it is so constructed as to be perfectly easy for the trebles and the congregation to sing ; and, in each instance, also, it is quite independent of the tune itself, and so may be adopted or omitted at pleasure. The use of a Hallelujah was common in the hymns of the early church ; its more frequent introduction now will be a beneficial practice.
The tunes are barred in the same manner as in the " Old CHURCH PSALMODY," and for the same reasons as therein assigned. The stroke of a pen or pencil will be an easy method of alteration to those who desire it. (See pages vii, viii.)
The tunes are systematically named from the Natural Geograpliy of the Bible. Mountains, hills, vallies, rivers, plains, and other geographical objects, often replete with poetry, are thus used for a musical nomenclature. As a system, this method of deriving names for psalm tunes does not seem to have been previously adopted. Happily, just names enough of a sufficiently euphonious character have been found for the present volume.
* " No voice but well could join
Melodious part. Such concord is in heaven." — Paradise Lost.
The Author may be allowed to add, that the composition of these tunes, and of the others alluded to, have been the recreative solace of many a valetudinarian hour, both at home and abroad. If in any degree they shall prove auxiliary to the glory of the Triune God, in the offering of congregational or domestic praise, the Author's first and highest object will be gained.
W. H. HAVERGAL.
Worcester, January, 1859.
b 2
III.
(FROM OLD CHURCH PSALMODY.*)
1847.
No. i.— THE OLD HUNDREDTH TUNE.
The authorship of this tune is more questionable than commonly is supposed. In England, it is confidently assigned to Luther. In Germany, no such confidence exists. Handel was of opinion that Luther composed the tune ; but historical evidence does* not support that opinion. Assigning the tune to Douland, or to any English author, is arrant folly. The editor hopes some day to throw a little light upon the subject. f
The present version gives the melody exactly as in Day's Psalter of 1563. The harmony is constructed partly from Parson's copy in that Psalter, and partly from the Herborne version of 1595. It avoids the formidable objection which hangs upon the common harmonization, viz., that with only one exception, each strain begins and ends with the tonal harmony. "Another of the same" is merely a consistent arrangement of the common monotonous version. The shape of the melody, however, is more ancient than sometimes is supposed. The harmony of the former version may be used to the rhythmical arrangement of the latter.
No. 13.— TALLIS'S CANON.
Tallis composed and set this as a Double Long Metre to a psalm, in Archbishop Parker's version (supposed about 1561). Ravenscroft, in 1621, reduced it to the measure of a single verse. It continued in common use, as a Morning Hymn, till the latter part of the last century ; when, after various corruptions, it was printed and sung to Bishop Ken's Evening Hymn. The editor of John Wesley's " Foundery Collection of Tunes," in 1742, seems to have been the first person who published it in a corrupted form. In that collection it is called " Cannon Tune ;" and is set to the well-known words, " Jesu, Thy blood and righteous- ness." The canon, which the tune contains, originally between the Tenor and Cantus, now between the Treble and Tenor, is quite lost sight of in all the corrupted versions. In transposing and arranging the canon, for the present work, care has been taken to avoid that constant repetition of the tonic and its harmony, which renders some recent arrange- ments rather monotonous. The tune, having no intermediate pauses, is well adapted for psalms or hymns of many verses.
No. 15.— OLD "TEN COMMANDMENTS' TUNE."
This tune is found in almost all foreign collections. The oldest version with which the editor has met, is in a beautiful Genevan Psalter of 1562. It is therein set to a metrical
* The notes in brackets are added by the editor of " Havergal's Psalmody."
t ["A History of the Old Hundredth Psalm Tune, with Specimens," by the Rev. W. H. Havergal, was published, in 1854, by Mason Brothers, New York, and Sampson Low & Son, London.]
Notes on Certain Times. xvii
paraphrase of the Ten Commandments. As our old English Psalters set it to a similar paraphrase, it was called in after-days by the name it now bears; though "Audi Israel" was frequently prefixed to it, being the Latin of the first words of the paraphrase. Este, in 1592, set the tune, as harmonized by Alison, to a second version of the 125th Psalm ; and Ravens- croft, in 1 62 1, copied it ; adding another harmonization of it, by himself, to the "Audi Israel." Playford, in 1671, set the tune in equalized notation to the same psalm ; but appended a poetical paraphrase of the Ten Commandments, by Dr. Henry King, Bishop of Chichester, to be sung to the tune. From the constant publication of the tune, in all the older collec- tions, it may be supposed to have been a special favourite. Rink has fugued it in his Organ School. Werner attributes the composition of the tune to John Baptista, 1560.
No. 21.— DORTMUND.
The editor has been urged to insert a properly harmonized copy of what has been called Tallis's L.M. Tune to the former version of the Veni Creator,* "Come, Holy Ghost, our souls inspire," in the Ordination Service. But the task is declined, because there is every reason to believe that the tune was not the production of Tallis. Not only is it abhorrent to his style and age, but the very words to which it is set were not published till full three- quarters of a century after his death. f
The earliest known copy of the tune is to be found in " Short Directions for the Per- formance of the Cathedral Service," A.D. 1664, by Mr. Edward Low, Organist of Christ Church, Oxford. It may be his own composition, although the style of it very much resembles that of his contemporary and neighbour, Dr. Benjamin Rogers.
Dr. Crotch published the Bass and Treble of the tune in 1803 ; but on what authority he ascribed it to Tallis, does not appear. The worthy Doctor omitted to give the inner parts, possibly because of their ineligible character. Not a trace of the tune is to be found in any other early quarter.
In the absence of any authentic tune suited to the words, the editor has inserted one which has been deemed likely to meet with approval; though of German origin, % it accords with the style of Tallis. The Trochaic Coda or Doxology is framed from the tune itself : which, independently of the "Veni Creator," may be used as an ordinary L.M.
No. 22.— CRETE. A tune composed for the former Hymn in the English Ordinal. It is specially intended
* To what tune either version of the " Veni Creator" was formerly accustomed to be sung in Cathedrals, the editor has not been able to discover. Owing to the frequency of Ordinations in private chapels, music was probably omitted altogether. Of late years the most trashy adaptations have been used.
\ Tallis died in 1585. and was buried at Greenwich. The words were first printed in the revised Prayer Book and Ordinal of about 166 1-2.
% No apology is requisite for this, as Germany and Geneva furnished the foundation of our English psalmody. It is, however, too frequently forgotten that the harmonies in many German Choral Books are not vocal, but instrumental. It has been said that the " Old Church Psalmody " " took the lead in opening up the German tune-stores, especially as to Trochaic measures." — From " Supplementary Preface to Old Church PsALMODY,"j?/M edition.
xviii m Notes on Certain Tunes.
for such antiphonal use in a Cathedral as the Rubric directs. When the Hymn is divided into three stanzas of six lines each, the former half of the tune may be repeated except in the last instance. [It may be used as an ordinary L.M. tune.]
No. 29.— SPIRES, OR "LUTHER'S TURK AND POPE TUNE."
In many old Psalm-Tune Books, it is called " Serva nos, Domine," from the Latin of the first words of the Protestant Hymn, " Preserve us, Lord, by thy deare worde," by Robert Wisdom, published at the end of all our Old Versions of Psalms. The tune is unquestionably Luther's ; and Robert Wisdom's Hymn is little more than a translation of Luther's words.
The Hymn and the tune were extremely popular with our forefathers. The tune was never omitted in the old collections, and rarely in any till the close of the last century. In Day's Psalter, 1563, is an elaborate harmonization of it, besides a plainer specimen.
No. 32.— SAXONY.
The solemnity of this choral is most touching. For Passion -week or Good Friday, we have nothing superior to it. Its origin, whether Protestant or Roman, is uncertain.
No. 44.— TALLIS.
This is simplicity itself. Both the melody and the harmony are the progeny of our great Cathedralist. He composed them for the Veni Creator, in Archbishop Parker's Psalter. A child may sing the tune, while manly genius will admire it.
No. 45.— YORK.
Next to the Old Hundredth, this was once the most popular tune in England. The Scotch,
who claim it, call it " Stilt." There are three harmonized versions of it in Ravenscroft ;
two by John Milton, the father of the poet ; and one by Simon Stubbs. The present (inverted) version is made up of the best parts of the former two.
As this is the first of the tunes from the Scotch Psalters, it may be the fitting place to
remark that all the so-called Scotch tunes are excellent ; but it by no means follows that, because they appear in the Scotch Psalters, they are of Scotch origin.
No. 46.— WINCHESTER.
This is copied entire from Alison. Most of his settings being for instruments, are too high in the Medius for vocal use. The third strain of this tune occurs in the Old 81st Psalm Tune, and is to be found in others of later date. The fourth strain is another instance of stock phrase.
No. 52.— ST. ANN. This is a deservedly admired tune, and quite in old style. Bach published a fugue upon it ; or, as some say, on a choral like it. The identity of the melody of the first strain with
Notes oil Certain Times. xix
that of Carisbrooke, by Henry Lawes, is only one of many instances in which composers, without breach of honesty, write the same passages. The modulation at the close of the third strain is often most unjustifiably changed for that of the dominant. Editors, too, fear to follow the worthy Doctor Croft, as he followed his predecessors, in commencing the first note of the fourth strain on the tonal full chord, because of consecutive fifths. Such fifths no old harmonist ever declined. The tune was called St. Ann, most likely because the Doctor was Organist of the Church of St. Ann, Westminster.*
No. 53.— ST. CHRYSOSTOM.
[A single specimen of a great number of tunes, composed in earlier life by the Rev. W. H. Havergal ; which, though melodious and much liked, were excluded from his " Hundred Psalm and Hymn Tunes," because imperfectly accordant with the standards of riper years.]
No. 54.— EVAN. [This tune, " the popularity of which in Scotland, America, and the Colonies is quite unprece- dented," (see Tonic Sol Fa Reporter, May 15, 1870,) consists of the 1st, 2nd, 7th and 8th strains of, " O Thou dread Power," a sacred song by the Rev. W. H. Havergal, the melody being unaltered. "Evan II.," No. yj, is the entire melody of the same song, harmonized by the author as a C.M.D. about the year 1867. The following note, written upon a copy of EVAN, given as autograph at the request of a friend, supplies his own account of its origin.] —
" ' Evan,' framed by Dr. Lowell Mason of New York, from a sacred song, ' O thou dread Power,' by W. H. Havergal, A I. A., original air first published in 1847. The beautiful words of the sacred song were written by Burns for the family of Dr. Lawrie. The music to them is in triple time, and in the key of A flat. The tune ' Evan' comprises only part of the original melody. As the American arrangement was a sad estrangement, I have reconstructed the tune after a more correct form. Why it wras called ' Evan ' I know not. Still I do not approve the tune.
"Leamington, Alarch \tyh, 1870. W. H. Havergal."
No. 55.— LONDON NEW, OR NEWTON.
A tune universally liked. Generally ascribed to Dr. Croft, but certainly composed long before he was born. Why Ravenscroft omitted it is hard to be conjectured. The Scotch version, the oldest known, gives the third strain in a different form. The one in this volume is now com- monly sung in both England and Scotland. The Scotch lay fair claim to its composition. It was probably called "Newton" from Newtown, the appendage to "the auld toun o' Ayr."
No. 58.— ST. MATTHIAS. Written by Orlando Gibbons, to Withers hymn, for St. Matthias1 Day. Playford printed a vitiated copy of it, and called it t; Exeter."
No. 60.— ST. DAVID.
Ravenscroft' s version of this tune is disagreeably jumping. Playford published the present modified version of it in 1671.
[* An earlier copy has subsequently been discovered by the Rev. H. Parr, in "Abraham Barber's Book of Psalm Tunes," 1686. It is there called "Leeds/' and attributed to Denby, 1680.]
xx Notes on Certain Tunes.
*
No. 66.— BEDFORD.*
Another comparatively modern tune in good style. Its pleasanter melody completely cut out an older " Bedford Tune," in A minor. The oldest copy of this newer Bedford, which the editor can meet with, is in "The Psalm-singer's Magazine," 1729. It should be noticed that the melody, though in triple time, has no instance of a semibreve split into two slurred minims. That device is modern, and constitutes a species of melody which the old psalmodists never adopted.
No. 67.— FARRANT.
This is a compilation from the beautifully " serene" anthem, " Lord, for thy tender mercies' sake." With slight exceptions in the parts, the tune was compiled by the editor's worthy friend, Dr. Edward Hodges, whom England has lost, and New York has gained. [Died 1867.]
No. 70.— CHESTER.
Or, "A Prayer for the Queen's most excellent Majestie." This, in Este's psalter, is harmonized by John Douland, and has been reprinted as his com- position. But the tune itself is only a tune of that day, and was harmonized, also, by John Bennet, a contemporary of Douland, and one of the best madrigalists of the Elizabethan age. Ravenscroft calls it Chester.
No. 72.— DUNDEE.
Dundee is older than " Windsor," or " Eaton," as the name of this noble tune. The Scotch claim it as a national tune. Burns believed it to be such. Another poet said of it, " Could I, when being carried to my grave, wake up just to hear what tune would be sung at it, I should like it to be 'Dundee,' or, as we call it, 'Windsor.'" Dr. Gauntlett considers it an adaptation of G. Kirby (16th century) from a Gregorian.
No. 73.— ST. MARY'S, OR HACKNEY.
A general favourite, and with Mr. Horsley, " the beau ideal of a psalm tune," though its origin is unknown. Playford first printed it in common time. There is no reason why it may not be used in that time. Dr. Gauntlett questions the congruity of the former half of the melody of the third strain, and proposes an amendment. There is some room for the question, but the amendment is itself questionable.
No. 75.— OLD 8ist.
This oldest version of this most cheerful tune differs from all later versions, in beginning most of its strains with three minims. It is the earliest known specimen of our tunes in triple time. It is said, but without clear evidence, to be an Italian melody.
* [This tune has since been found in "A Book of Psalmody/' by Matthew Wilkins, supposed date, 1699. During the last century, it was generally ascribed to W. Wheall, M.B., Organist of St. Paul's, Bedford, who died in 1745. It has also been attributed to H. Purcell. This information has been kindly supplied by the Rev. H. Parr.]
Notes on Certain Tunes. xxi
No. 85.— ST. MICHAEL.
This fine old tune is older than marked ; for it stands in Day's Psalter of 1 563, to the 134th Psalm ; but as a double tune, with another ending. The editor had not discovered its true antiquity, when he spoke of it in his preface to the reprint of Ravenscroft.
No. 93.— M ARAN O.
It is singular that the third strain of this exquisite tune should be a prominent phrase in
Handel's beautiful song, " Shall I in Manure's fertile plain." " La Scala Santa," from which
it is taken, is the production of a Venetian nobleman, who delighted in the " Psalms of
Degrees." The English edition of his works was published in folio, by Godbid & Playford,
A.D. 1681.
No. 94.— SOUTHWELL.
This beautifully simple tune used to be confidently ascribed, like " St. David " and others, to Ravenscroft. It was printed long prior to his day. It is a good specimen of a Psalm- tune framed on a subject. Singular to say, its subject is identically that of Tallis's exquisite motet, "Absterge Domine," in the Cantiones Sacrae, 1575.
No. 148.— GIBBONS.
This is genuine English, and one of the very few Trochaics which our English composers
wrote. It is from " Wither's Hymns and Songs of the Church." The treble and bass are
by Orlando Gibbons.
No. 163.-HAVERGAL.
[This tune, rich, sweet, and solemn, was the last note of its composer's earthly praise.* It was written at the request of a friend, before 8 A.M. on Easter Eve, April 16, 1870. In less than twenty-four hours from that time the stroke of apoplexy had fallen, from which he never returned to consciousness. At noon, on Tuesday, April 19, he passed away to join that "new song," to which his whole life had been a prelude.]
No. 202.-ESDRAELON.
[Adapted from "A Cradle Hymn," a sacred song, by the Rev. W. H. Havergal, published cir. 1 840.]
No. 203.— SALZBURG.
This is a well-known " Tantum Ergo," in somewhat modern style. Without touching the melody, the editor has endeavoured, by older harmony, to better its style, or to make it less observable. Though attributed to Michael Haydn, it is perhaps, as the late Mr. Latrobe thought, of earlier date.
No. 208.— ALTORF, OR LUTHER'S HYMN.
In the first edition of this work, the Editor noticed the many variations of this tune, as printed both abroad and at home. Scarcely two copies are alike. He also noticed the
* [It was composed for Hymn No. IV., in "Songs of Grace and Glory," edited by Rev. C. B. Snepp, LL.M., Vicar of Perry Barr.]
xxii Notes on Certain Times.
ambiguity of its origin, according, at least, to the surmises of continental editors. Recently, however, he has met with Winterfeld's Collection of the Spiritual Songs of Dr. Martin Luther, exquisitely printed, as a Jubilee Book, at Leipsic, 1840. In that work the tune, i.e., the melody alone, as now given in this volume, is, on apparently the best authority, assigned to Luther. It is described as first printed in 1524, but composed in 1523. Instead of being set to an Advent Hymn, or anything like " Great God, what do I see and hear/" it was arranged to a " Christian Song in praise of the Unspeakable Grace of God, and of the True Faith," while one-half of the tune itself is totally different from all the current versions of it. Henceforth those versions must be regarded as spurious imitations of a beau- tiful original. At the same time, there is no reason for calling it " Luther's Hymn," more than any other of his composition ; especially as the words which have been associated with it are in no respect his. The original key is F.
No. 227.— ANGELS1 SONG.
The editor is glad to be able to settle the authorship of this most ill-treated tune. // is, unquestionably, the production of Orlando Gibbons, and was set by him in three different forms in George Wither's authorized volume. It is called "Angels' Song," from the words of one hymn to which it was set. All modern versions of it not only alter the melody, but the rhythm. The editor gives the original Treble and Bass, for those are the only parts published by Gibbons, but avoids that mixed rhythm which puzzles modern singers. By stopping at the end of the fourth strain, the tune, as in one instance by its author, forms a Long Metre.
No. 239.— HANOVER.
From a statement of Mr. Professor Taylor, in " The People's Music Book," it is pretty certain that this tune was composed by Dr. Croft. It is tolerably clear that it is not Handel's. As it has been so confidently attributed to him, it may be worth a line or two to dispel the illusion. Handel did not arrive in England till the close of the year 17 10, and then only for a brief visit ; whereas " Hanover" was printed, in the Supplement to the "New Version of the Psalms,"* in 1708. It is so unlikely, as to be utterly incredible, that Handel, who was never known in Germany to have composed a single choral, should have composed this one tune to English words in a non- German metre, and that it should have preceded his arrival in England by two years or more. The tune is, consequently, in accord- ance with authentic tradition, ascribed, in this work, to our worthy countryman, Dr. Croft. The editor has heard the [late] Rev. G. S- Faber, Master of Sherborne Hospital, Durham, say that his venerable father believed the tune was composed by the Rev. John Chetham, whose fame as a psalmist, and whose publications in Yorkshire, began early in the last century.
* In a copy which the editor possesses, it is headed, " A New Tune to the 149th Psalm," &c, and is set in two parts only, in the key of B flat. The Bass is evidently intended as a sort of second to the Treble, and not as one suitable in a composition of four parts. This is the case with the tunes of Gibbons and the brothers Lawes. Oversight of this fact has led to much harmonic evil.
Notes on Certain Times. xxiii
Nos. 251 AND 252.— "NUN DANKET ALLE GOTT," AND " EIN' FESTE BURG
1ST UNSER GOTT."
[These well-known German Chorals, though not included in " Old Church Psalmody," nor harmonized by its editor, are appended to the present volume by the advice of a friend, in order to complete the supply of peculiar measures. No attempt has been made to "improve" these fine old melodies, and the harmonies are transcribed nearly verbatim from Adolph Hesse's " Choralbuch."]
No. 253.— ST. PAUL.
[By the same advice, this tune has been composed and added, at the last moment. Though it may seem out of place as regards the metrical arrangement of the work, it is well that Havergats Psalmody should thus close with an ascription of praise to the King of kings AND Lord of lords.
F. R. H.
Ascension Day, 187 1.]
IV.
1871.
MANY will be surprised at the large number of well-known and favourite tunes in HavergaVs Psalmody. The fact is, that HavergaVs Old Church Psalmody has been the fountain from which editors of subsequent collections have drawn — either at first or second hand — and the original guide to many valuable tune-sources, both English and foreign. It was the Columbus of tune-books ; the pioneer, not to a New, but to an Old World of musical treasure. Now, the route is open and easy.
The retiring and unselfish spirit of its editor, as well as his devotion to yet higher work, prevented that assertion of its true position before the mul- titude, which has always been accorded to it by the highest musical authori- ties. " Little more than a sovereign was expended in advertising it ;" and only once did he pen a remark upon any unfair treatment of his work. u To the multitudinous applications for permission to reprint tunes from the Old Church Psalmody no refusal was ever given, nor was any remuneration named. But the permission, when granted, has not always been duly acknowledged. Some tunes have been properly acknowledged ; but others, taken wholly or chiefly from the same source, have been printed as though they belonged to the editor of the collection in which they appear. These oversights, which ought not to be made, have too frequently occurred." Also, — " It was due to Old CliurcJi Psalmody that they who were allowed to borrow its tunes, should likewise have adopted its names."
The selections from "A Hundred Psalm and Hymn Tunes, by the Rev. W. H. Havergal^ will be found, as experience has proved them to be, easily learnt, greatly liked, and practically adapted for congregational singing. Of one of these, Dr. Lowell Mason, the great American promoter of choral singing, wrote as follows : — " I have lately introduced into my choir, and sung with admirable effect, your tune, 'St. Nicholas' [now called ' Edex,' No. 38 in this volume]. The effect of it was truly magnificent. My choir consists of about sixty singers ; the different parts are well sustained, and about equally balanced. I have never heard anything come nearer to my beau ideal of Church Music than did the singing of this tune, on a fine Sabbath morning, in a church filled
xxvi Supplementary Remarks.
with people. It made a deep impression ; and the next day, one and another was asking, ' What tune did you sing yesterday morning ?' ' Where did you get that tune ?' &c. The performance of ' St. Nicholas' [Eden] makes one feel as did Jacob at Luz, and involuntarily exclaim, 'This is none other but the house of God, and this is the gate of heaven.' Wonderful would be the effect of the Psalmody were all the people to unite in such lofty and majestic strains." — April 30, 1847.
In order to meet the increasing proportion of "peculiar measures," a num- ber of tunes have been adapted from the Rev. W. H. Havergal's own melo- dies, (chiefly from unpublished MSS.), while, for extra measures which could not be thus supplied, a few tunes have been added by another hand. The present volume, therefore, contains tunes for all measures in the best modern hymnals. It is, however, specially adapted to the new hymnal, Songs of Grace and Glory, with its 1,000 carefully selected hymns, edited by the Rev. C. B. Snepp, to whom the editor of HavcrgaVs Psalmody is greatly indebted for much kind counsel in the work.
Any clergyman or organist will be willingly supplied with a Tuneal Key for whatever hymnal he may wish to use in connection with Havergal's Psalmody.
The arrangement of the tunes is strictly metrical. After the regular L.M.'s, C.M.'s, and S.M.'s, the P.M.'s follow in order of lengtJi of measure, beginning with 5555, and ending with 12 10.* When several tunes belong to one measure, they are carefully arranged in order of character, beginning with the jubilant, and shading gradually to the plaintive, so that if an alternative tune for any hymn be desired, it will never be far to seek.
The nomenclature of HavcrgaVs Psalmody is systematic. The name of each tune at once supplies information as to its origin. Old English, Scotch or German tunes, bear respectively English, Scotch or German names ; those by the Rev. W. H. Havergal are named (with a few exceptions), from the natural geography of the Bible ; the added tunes are named from " the friends of St. Paul." No departure from these rules has been made without some necessitating reason.
Amens have been appended for optional use, wherever such a close is not unsuitable to the " suitable words."
May this memorial, to one " whose works do follow " him, be to the glory of his God, who has now " made him most blessed for ever."
F. R. HAVERGAL.
* (N.B.- 15 15, 15 15, will be found under 87, 3; D.)
HAYERGAUS PSALMODY
CENTURY OF CHANTS.
No. 1.
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No. 2.
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No. 4.
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Xo. 7.
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OLD CHURCH PSALMODY. 1 U 1 -
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Xo. 8. £-rfurt.* (l.m.)
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* Wrongly called Eisleben.
No. 9.
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O Spi - nt of the liv- ing God, In all the ful - ness of Thy grace
Wher-e'er the foot of man hath trod, De-scend on our a - pos-tate race. A-men.
No. 10.
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No. 11.
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The summons send from coast to coast. And call a num'rous ar - my nigh. A-men.
No. 12.
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No. 13. foUJis's Canon, (l.m.)
(See Preface, p. xvi.) (Two in one, Treble and Tenor.) OLD CHURCH PSALMODY,
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No. 14.
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And, looking from Thy ho - ly heaven, Pro- tect the crown Thy-self hast given. A-men.
No. 15.
Oit> "(Tell CommantmtCnts' Clitic;"* or, Commandments.
{See Preface, p. xvi.)
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God is the re-fuge of His saints, When storms of sharp dis-tress in - vade
Ere we can of-fer our com-plaints, Be -hold Him present with His aid. A-men.
No. 16. %)0V {Mount). (l.M.)
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Through sleep and dark-ness safe - ly brought, Restored to life, and power, and thought. A-men.
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* Wrongly called St. Mark, or Magdeburg, or Ely.
No. 17.
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Let me be with Thee where Thou art, My Sa-viour, my e - ter - nal rest !
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No. 18.
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Be -fore Thv throne we sin-ners bend : To us Thy pard-'ning love ex- tend. A-men,
No. 19.
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De - ny thy - self, the world for - sake, And humbly, meek-ly fol - low me. A-men.
No. 20. Dalmatian (l.m.)
W. H. H., 1859.
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Be Thou our Guardian, Thou our Guide, O'er ev'-ry thought and step pre - side. A-men
Wrongly called Freiburg.
No. 21.
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Trochaic Doxology.
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No. 22.
(Crete* (l.m.) (Veni Creator.)
{See Preface, p. xviij
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Doxology, (ad lib.)
seven - fold gifts in*
part.
Praise to Thy e - ter - nal me - rit, Fa -ther. Son, and Ho - ly Spi - rit. A- men.
\To. 23.
PenteL (l.m.)
W. H. H., 1867.
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Sun of my soul, Thou Sa - viour dear, It is not night if Thou be near
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Oh ! may no earth-born cloud a - rise To hide Thee from Thy servant's eyes. Amen.
No. 24.
fiXchombc. (l.m)
OLD CHURCH PSALMODY.
Where high the heav'n-ly tern - pie stands, The house of God not made with hands,
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A great High Priest our na-ture wears, The Guar-dian of man-kind ap - pears.
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No. 25.
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And that Thou bidd'st me come to Thee — 0 Lamb of God, I come, I come. A-men.
No. 26.
Cyprus, (l.m.)
W. H. H.. 1861.
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Je - sus, Thou joy of lov - ing hearts, Thou Fount of Life,Thou Light of men,
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From the best bliss that earth im - parts, We turn un - fnTd to Thee a - gain. A-men.
* See Bethabara, No. 22:
No. 2'
Sermon. (l.m.)
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When I sur - vey the wond'rous Cross On which the Prince of Glo - ry died,
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My rich-est gain I count but loss, And pour con-tempt on all my pride. A-men.
No. 28.
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'Midst flaming worlds, in these ar - ray'd, With joy shall I lift up my head. Amen.
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Spires. * (l.m.)
(See Preface, p. xviii.)
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No. 30.
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Xo. 31
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Xo. 32,
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{See Preface, p. xviii.)
OLD CHURCH PSALMODY.
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No. 33
KOStOC. (L..M.D.)
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No. 34.
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No. 35.
(EljeSdon. {Mount) (CM.)
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With Che - ru - bim and Se - ra - phim Ex - alt th' in-car-nate Word. A-men.
No. 36.
Better, (Mountains of) (CM.)
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PH
DOXOLOGY.
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N . 37
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Xo. 39.
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Xo. 40.
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No. 41,
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No. 42.
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And in its match -less grace I feel My hap - pi - ness se
No. 43.
Bristol, (cm.)
(See Preface, p. iv.)
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Hark ! the glad sound, the Sa - viour comes, The Sa - viour pro-mis'd long !
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Let ev' - ry heart pre-pare a throne, And ev' - ry voice a song. A-men.
No. 44.
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Kin - die a flame of sa - cred love In these cold hearts of ours. A-men.
No. 45.
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{See Preface, ft. xviii. )
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On moun-tain - tops, a - bove the hills, And draw the won-d'ring eyes. A-men.
No. 46.
Mtttutjester.* (cm.)
(See Preface, ft xviii.)
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Give me the wings of faith to rise Within the veil, and see
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The saints a - bove, how great their joys, How bright their glories
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No. 47
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When shall my la-bours have an end, In joy, and peace, and thee? A - men.
No. 48.
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W. H. H. 1869.
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So pants my soul, 0 God, for Thee, And Thy re-fresh-ing grace. A - men.
No. 49.
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Thou art the Way : to Thee a - lone From sin and death we
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And he who would the Fa-ther seek, Must seek Him, Lord, by Thee. A - men.
No. 50.
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OLD CHURCH PSALMODY.
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For e - ver be Thy name a-dor'd. For these ce - les - tial
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No. 51
Besor. {Brook) (cm.)
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What shall I ren - der to my God For all His kind - ness shown?
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My feet shall vi - sit Thine a - bode, My songs ad-dress Thy throne. A-men.
No. 52.
J»t. anil, (cm.)
(See Pre/ace, p. xviii.)
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Now let us all Thy pre-sence feel, And soft - en hearts of stone. A-men.
No. 53.
•t Cftrpsostom* (cm.)
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(See Preface, p. xix.)
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On Jor-dan's long - de - sert - ed plain, By Ke-dron1s low
ly rill. A - men.
No. 54.
€ban I. (cm.)
(See Preface, p. xix.)
W. H. H., Melody, July, 1846. Harmony, March 19, 1870.
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Je - sus, the ve - ry thought of Thee With sweet-ness fills my breast ;
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But sweet - er far Thy face to see, And in Thy pre-sence rest. A-men.
No.
DO.
ILoxibon JIleiD ; or, Newton, (cm.)
(See Pre/ace, p. xix.)
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O God, our help in a - ges past, Our hope for years to come,
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Our shel-ter from the storm - y blast, And our e - ter - nal home. A -men.
No. 56.
Catttjne0Su (cm.)
OLD CHURCH PSALMODY.
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With - out one cheer - ful beam of hope, Or spark of glim' - ring day.
No. 5
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When all Thy mer - cies, O my God, My ris - ing soul sur - veys ;
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Trans - port - ed with the view, I'm lost In won - der, love, and praise.
No. 58.
pE?
(*SV<? Preface, p. xix.)
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Our God is love ; and all His saints His m - age bear
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The heart with love to God in - spird, With love to man will
glow. A-men.
No. 59.
m
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In Scotch Scale.
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No home of rest be-yond it all, No guide or help in Thee!
No. 60.
S»t. DabiiK (cm.;
{See Preface, p. xix.)
OLD CHURCH PSALMODY.
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He plants His foot-steps in the sea, And rides up - on the storm
No. 61.
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For mer-cies, countless as the sands, Which dai - ly I
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From Je - sus, my Re - deem - er's hands, My soul, what canst thou give '
No 62.
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In - car - nate God! The soul that knows Thy name's mys - te - rious power,
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Shall dwell in un - dis-turb'd re
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Nor fear the try - ing hour.
No. 63.
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I bid fare - well to ev - *ry fear, And wipe my weeping eyes. A- men.
No. 64.
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Composed in a dream.
W. H. H., 1853
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Why should the chil-dren of a King, Go mourn-ing all their days?
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Great Com-fort-er, des-cend, and bring Some to -kens of Thy grace. A - men.
No. 65.
Jfrmd); ob, Dundee, (cm.)
OLD CHURCH PSALMODY.
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How sweet the name of Je - sus sounds, In a be - liev - er's ear,
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It soothes his sor-rows, heals his wounds, And drives a - way his fear.
A - men.
No. 66.
Befeforti* (cm.)
{See Preface p. xx.)
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A heart that al - ways feels Thy blood, So free - ly shed for me. A - men.
No. 67.
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No. 70.
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Wrongly called Tytherton, or Prague.
No. 85.
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And cause the bright-ness of Thy face On all Thy saints to shine. A - men. 3jaJ0n. (Valley of) (s.M.)
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No. 87.
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No. 88.
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W. H. H., 1847.
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I did not love my Shep-herd's voice, I would not be con - troll'd.
No. 89.
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No. 90.
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No. 91. ^CVUCl; {Wilderness of) ok, Hawxstoxe. (s.M.)
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No. 93.
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No. 94. j&outt)toeii. (s.m.)
(See Preface, p. xxi.)
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No. 95<2.
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No. 96.
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No. 97