Music of the NEW AMERICAN NATION

Sacred Music from 1780 to 1820

KARL KROEGER, GENERAL EDITOR University of Colorado at Boulder Contents of the Series

1. Amos Bull (1744-1825) 8. Two Connecticut Composers The Collected Works The Collected Works of Asahel Benham (1754-1803) 2. Three Connecticut Composers Merit Woodruff (1780-1799) The Collected Works of Oliver Brownson (1746-1815) 9. Jacob French (1754-1817) Alexander Gillet (1749-1826) The Collected Works Solomon Chandler (1756-ca. 1804) 10. Joseph Stone (1758-1837) 3. Three New York Composers The Collected Works The Collected Works of Lewis Edson (1748-1820) 11. Samuel Babcock (ca. 1760-1813) Lewis Edson Jr. (1771-1845) The Collected Works Nathaniel Billings (fl. 1794-1795) 12. Selected Works of 4. Elias Mann (1750-1825) Samuel Holyoke (1762-1820) The Collected Works Jacob Kimball (1761-1826)

5. Supply Belcher (1751-1836) 13. Oliver Holden (1765-1844) The Collected Works Selected Works

6. Abraham Wood (1752-1804) 14. Daniel Belknap (1771-1818) The Collected Works The Collected Works

7. Two Vermont Composers 15. Two Connecticut Composers The Collected Works of The Collected Works of Elisha West (1752-ca. 1808) Eliakim Doolittle (1772-1850) Justin Morgan (1747-1798) Timothy Olmsted (1759-1848) VOLUME 13

Oliver Holden (1765-1844)

Selected Works

Edited by DAVID W. MUSIC

Routledge Taylor & Francis Group New York London First published 1998 by Garland Publishing, Inc.

This edition published 2013 by Routledge 711 Third Avenue, New York, NY 10017 2 Park Square, Milton Park, Abingdon, Oxon, 0 X 14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business

Copyright © 1998 by David W. Music

Library of Congress Cataloging-in-Publication Data

Oliver Holden (1765-1844) : Selected Works / edited by David W. Music.

(Music of the new American nation; 13)

ISBN 0-8153-2428-6

Musical scores are "out of scope" of the Library of Congress's Cataloging-in-Publication program. Table of Contents

Introduction to the Series vii Works Cited ix Performance Practice xi

Editorial Policy XV Introduction to this Volume xxi Selected Works of Oliver Holden 1 Sacred Dirges, Hymns, and Anthems 161 A Dirge, or Sepulchral Service 183 Abbreviations and Short Titles 191 Commentary 195 Index of Tune Names 213 Index of First Lines 215

V This page intentionally left blank Introduction to the Series

This series presents the music of early American Three particularly prolific composers, Samuel composers of sacred music—psalmody, as it was Holyoke, Jacob Kimball, and Oliver Holden, are only called—in collected critical editions. Each volume has represented by selected works. Some criteria used in been prepared by a scholar who has studied the selecting their pieces to be included here are: which musical history of the period and the stylistic quali- works were popular and influential in the composer's ties of the composer. The purpose of the series is to own day and which works represent music of signifi- present the music of important early American com- cant artistic merit. Composers who already have col- posers in accurate editions for both performance and lected works editions either in print or in progress— study. Until now, much of this repertory was un- William Billings, Daniel Read, Timothy Swan, and available except in the original tunebooks in which Stephen Jenks—have not been included in this series. the music was first issued. These are difficult to use because of their age and fragility, the antique layout The fifteen volumes in this series by no means of the musical typography, and frequent printing exhaust the repertory. A number of significant com- errors that beset the music and text. While the music posers of the era could not be represented, among is presented here in modern musical orthography, them Amos Albee, William Cooper, Samuel Capen, no attempt has been made to improve it. Suspected Ebenezer Child, Benjamin Holt, Solomon Howe, Jer- typographical errors have been corrected (and noted emiah Ingalls, Walter Janes, Abraham Maxim, in the commentary), but what may be thought of as Hezekiah Moors, James Newhall, Warwick Palfray, compositional errors—parallel fifths and octaves, for Amos Pilsbury, Zedekiah Sanger, Oliver Shaw, example—are an important part of the musical style Nehemiah Shumway, Samuel Thomson, and Truman and have not been tampered with. Wetmore. Most of these composers published tunebooks containing their own music and that of The twenty-three composers represented in this colleagues. However, the twenty-three composers series were among the most important of the several whose works are included were important and in- hundred who contributed to the psalmody repertory. fluential in their day and composed music that has Some, like Abraham Wood, Joseph Stone, Jacob interest and artistic worth in our own. French, and Elisha West, were prolific and popular in their day but are largely unknown today. Others, During the quarter century following the Revo- such as Nathaniel Billings, Lewis Edson, Jr., and Merit lutionary War, a flowering of American musical cre- Woodruff, were little known even in their own time, ativity occurred that was unprecedented in any pe- but they wrote some interesting and expressive music riod until the present day. Centered in the New that warrants wider acquaintance. Most of these England states, principally Massachusetts and Con- composers have the whole of their published music necticut, this outpouring was based on the musical presented in this series. This will allow for a better practices of the Congregational church as they had assessment of their musical contributions, and will developed over the previous half century. It involved provide performers with the widest possible selec- music for the church choir, which had been intro- tion of the composers' works. duced following over a century of opposition, and its

vn viii • INTRODUCTION TO THE SERIES

ancillary organizations, the singing school and the Alan Buechner explored important aspects of this musical society. The composers writing for these musical tradition. Dissertations and books by Glenn groups were their friends and neighbors. They sup­ Wilcox, Lawrence Willhide, David McKay, Richard plied pieces for special occasions, for didactic pur­ Crawford, David McCormick, Vinson Bushnell, poses, or as artistic responses to particularly moving Marvin Genuchi, David Warren Steel, Betty Bandel, psalms or hymns. and Daniel Jones dealt with individual composers, their lives, and their music. Works by Ralph Daniel, These composers were not trained professionals Karl Kroeger, and Nym Cooke have clarified musi­ with highly developed skills, but merchants, school­ cal forms and personal relationships. The bibliogra­ teachers, farmers, and mechanics who had gained phy of Britton, Lowens, and Crawford has provided some facility at singing. They learned their compo­ an accurate account of tunebook publication to 1810. sitional craft through trial and observation. They often taught the rudiments of music reading and choral What has been lacking up to now have been re­ singing to young people in their community in occa­ liable editions of the music. Prior to 1977, the sional singing schools. Frequently, they also led the psalmody repertory had received no critical at­ choir in their local church. Occasionally they may tention. In that year the first volume of The Complete have been called upon to supply new music for or­ Works of William Billings, edited by Hans Nathan, was dinations, celebrations, and other local occasions, or published by The American Musicological Society they may have composed pieces to demonstrate and The Colonial Society of Massachusetts. During musical precepts in their singing schools. Over time, the 1980s and early 1990s, three more volumes of some of these composers amassed a sizable body of Billings's music were issued by these societies. Mean­ works. Friends and supporters then may have en­ while, plans were underway for a series of volumes, couraged them to publish a tunebook of their pieces. Music of the United States of America, containing Ameri­ Others, having gained a reputation as a good com­ can musical monuments. Sponsored by the Ameri­ poser, may have lacked sufficient financial backing can Musicological Society, this series will include col­ to issue a tunebook of their own. Their tunes might lected works editions of psalmodists Daniel Read and then be published in the tunebooks of other compil­ Timothy Swan. The Recent Researches in American Music ers. New American music was in demand by singers, series, published by A-R Editions, has also issued a and in this way, between about 1780 and 1810, some volume of music by Stephen Jenks. Music of the New 200 American composers issued over 5000 pieces— American Nation will complement and extend beyond psalm tunes, extended tunes, fuging-tunes, set-pieces, these earlier publications to composers who did not and anthems. Undoubtedly many works remained in find a place there. Thus, as the twentieth century closes, manuscript, and, since these lacked the permanence the works of the most important American psalmodists of print, much of this music was lost or destroyed by will be available for performance and study. later generations that generally lacked an apprecia­ tion of its historic or aesthetic value. But 5000 pieces Psalmody served a number of functions in eigh­ is a sizable repertory, one that offers today's choral teenth* and early nineteenth-century America: it was director a profusion of beautiful, exciting, significant a pious duty in the praise of God, a vehicle for vocal religious partsongs that are again highly valued. instruction, a means of innocent recreation, both public and private, and a medium for artistic self­ Prior to the Second World War, little notice was expression. The church-goer in the pew probably taken of early American psalmody. Following the thought little about the music being sung, so long as war, however, greater attention began to be paid by it was appropriately solemn and suited to the occa­ scholars to the history, bibliography, and style of this sion; however, for the singer in the choir, the singing music. Doctoral dissertations by Allen P. Britton and master, and the composer, it was an important ad­ INTRODUCTION TO THE SERIES • ix

junct to daily life. For composers, in particular, stituted. If the composers were merely concerned with psalmody offered a means of communicating their providing a succession of notes to guide a text through concerns and their vision to a wider audience. Com­ time, a purely utilitarian function, they need not have posers set texts that moved them. This can be amply marked them with their own individual expressive demonstrated by their selection; often these are not features. If they had wanted only to demonstrate some the first stanzas of the psalm or hymn, but an interior musical precept to their singing schools, they need verse that carries a particularly dramatic image or not have worked to make their tunes melodically pressing thought. Their settings are also individual. expressive and rhythmically invigorating. The Ameri­ One composer might set the text as a plain tune, can composers of psalmody were artists, somewhat simple and unadorned; another as an extended tune, naive perhaps and certainly not as well trained and with expressive melismas; a third as a fuging-tune, deeply experienced as European art-music composers, with extensive word painting. The same text might but they approached their medium and performers also be used in a set-piece, where the musical details with the same sense of concern and respect as those are so individual that another text could not be sub­ who composed symphonies, quartets, and sonatas.

Acknowledgments

I wish to express my appreciation to my colleagues Special thanks are due to the following people who Richard Crawford, William Kearns, Lawrence assisted materially with the preparation of this edi­ Worster, and Daniel Jones for their help and encour­ tion. Robert Phillips, Reference Librarian, Roberts agement in connection with this project. In particu­ Library, Southwestern Baptist Theological Seminary, lar, I acknowledge my debt to Gary M. Rader, de­ Fort Worth, Texas, assisted in the gathering of ma­ veloper of the MusicEase music notation software terials. Mary Louise VanDyke, Librarian/Coordi­ used for the musical scores. He offered his technical nator of the Dictionary of American Hymnology help in overcoming numerous format problems and Project, Oberlin, Ohio, helped me locate the text his expertise in computer operations made the in­ sources of several Holden pieces. Andrew Kadel, putting of the music easier. To all of these, plus the Reference and Collection Development Librarian, editors of the individual volumes, who participated Burke Library, Union Theological Seminary, New in this project with enthusiasm, I send my deepest York, generously provided transcripts of texts from thanks. Enfield's Selection of Hymns. Catherine Knight, my graduate student assistant, made a significant con­ K.K. tribution through her proofreading skills. D.W.M.

Works Cited

Bandel, Betty. Sing the Lord's Song in a Strange Land: ------, Irving Lowens, and Richard Crawford. The Life of Justin Morgan. East Rutherford, NJ: American Sacred Music Imprints, 1698-1810: A Bib­ Fairleigh Dickinson University Press, 1981. liography. Worcester, MA: American Antiquarian Britton, Allen P. "Theoretical Introductions in Ameri­ Society, 1990. can Tunebooks to 1800." Ph.D. dissertation, Buechner, Alan C. "Yankee Singing Schools and the University of Michigan, 1949. Golden Age of Choral Music in New England." X • INTRODUCTION TO THE SERIES

Ph.D. dissertation, Harvard University, 1960. French." Ph.D. dissertation, University of Iowa, Bushnell, Vinson C. "Daniel Read of New Haven 1964. (1757-1836): The Man and his Musical Activities." Jones, Daniel C. L. "Elias Mann (1750-1825): Massa­ Ph.D. dissertation, Harvard University, 1978. chusetts Composer, Compiler, and Singing Mas­ The Collected Works of Daniel Read, ed. by Karl Kroeger. ter." Ph.D. dissertation, University of Colorado, Madison, WI: A-R Editions, 1995. 1991. The Collected Works of Stephen Jenks, ed. by David Kroeger, Karl. "The Worcester Collection of Sacred Warren Steel. Madison, WI: A-R Editions, 1995. Harmony and Sacred Music in America, 1786­ The Collected Works of Timothy Swan, ed. by Nym 1803." Ph.D. dissertation, Brown University, 1976. Cooke. Madison, WI: A-R Editions, 1997. McCormick, David W. "Oliver Holden, Composer The Complete Works of William Billings, ed. by Hans and Anthologist." S.M.D. dissertation, Union Nathan and Karl Kroeger, 4 vols. Boston: Ameri­ Theological Seminary, 1963. can Musicological Society and The Colonial So­ McKay, David P., and Richard Crawford. William ciety of Massachusetts, 1977-1990. Billings of Boston: Eighteenth-Century Composer. Cooke, Nym. "American Psalmodists in Contact and Princeton, NJ: Princeton University Press, 1975. Collaboration (1770-1820)." Ph.D. dissertation, Steel, David Warren. "Stephen Jenks (1772-1856): University of Michigan, 1990. American Composer and Tunebook Compil­ Crawford, Richard. Andrew Law: American Psalmodist. er." Ph.D. dissertation, University of Michigan, 1982. Evanston, IL: Northwestern University Press, Wilcox, Glenn C. "Jacob Kimball, Jr. (1761-1826): His 1968. Life and Works." Ph.D. dissertation, University Daniel, Ralph P. The Anthem in New England before of Southern California, 1957. 1800. Evanston, IL: Northwestern University Willhide, J. Lawrence. "Samuel Holyoke, American Press, 1966. Music-Educator." Ph.D. dissertation, University Genuchi, Marvin C. "The Life and Music of Jacob of Southern California, 1954. Performance Practice

A full appreciation of the music of early American ticed, since it is mentioned by no other writers. A few psalmodists depends, to a large extent, upon an composers, like Amos Bull, substituted a second understanding of the performance practices appli- treble part for the counter. In this case, the part would cable to it. Most psalmodists were experienced com- be sung by women and its range would overlap with posers who wrote for a medium they understood that of the first treble. from years of practice: the unaccompanied choir of Some composers, such as Samuel Holyoke, mixed voices. They followed certain conventions of Samuel Babcock, and Timothy Olmsted, composed notation and execution that, if followed by today's music in only three parts: treble, tenor, and bass. In choirs, enhance the music's aural appeal and com- this arrangement, the principal melody was usually municative powers. This resume of performance in the treble voice, although it sometimes appeared practice in early American psalmody covers the basic in the tenor. The composer of three-part music often elements of the choral sound, the effect of the words, marked the principal part with the word "Air" to the musical symbols used, ornamentation, and ac- indicate its primacy. A few pieces exist in the reper- companiment. A fuller discussion of these and other tory for five, six, or seven parts, but these are very issues related to the performance of this music can be rare. Similarly, pieces were occasionally published found in The Complete Works of William Billings (v.4, in only two parts, melody and bass. In most cases, xxxiii-lxiv). however, these are reductions of four-part pieces, THE CHORAL MEDIUM published in this way to permit a larger number to be printed. The New England sacred music composer wrote for a choir of mixed voices, normally in four parts, The normal church choir of the day probably con- referred to as treble, counter, tenor, and bass. These sisted of from fifteen to thirty singers—perhaps a few generally correspond to the soprano, alto, tenor, and more in larger congregations, a few less in smaller. bass parts of today's choral ensembles. The main The choir make-up seems to have included a large melody of the piece was usually carried by the tenor, proportion of male singers. Most writers of the day sung by male voices. The bass was also a male sing- recommended that at least half the voices be assigned ing part. The counter was often sung by young boys, to the bass part, with the rest spread fairly evenly who would be reassigned to tenor or bass after their among the other parts. This produced a male-domi- voices broke. The counter also included some deeper nated vocal sound with the main melody in the tenor female voices, but the majority of female singers were and a special emphasis on the bass. The female voices assigned to the treble. A few composers, like William were apparently relegated to the background. This Billings and Isaac Lane, advocated doubling the tenor situation seems to have changed in the early 1800s, part an octave higher by a few treble voices and the however, with the introduction of the principal melody treble part an octave lower by a few tenors. It is in the treble. In this case, the female voices would lead uncertain how widely this arrangement was prac- and the male voices would support the melody.

XI xii • PERFORMANCE PRACTICE

THE WORDS but his decisions were guided by the subject of the The texts for singing were drawn principally from hymn and the words being sung. two sources: the psalms and hymns of Isaac Watts and the New Version of the Psalms by Nicholas Brady MUSICAL SYMBOLS and Nahum Tate. The latter, the metrical translation Most of the notational symbols used in psalmody officially sanctioned by the Anglican Church, was are familiar to today's singers, although some car­ perhaps more widely used before the Revolutionary ried somewhat different meanings than current us­ War, but following it, Watts's version, along with his age. One of the most important symbols was the time hymns, gained almost unrivaled ascendancy. A few signature. This not only controlled the metrical con­ other English hymnodists contributed to the pool of tent of the measures but also determined the tempo texts that American composers set: Philip Doddridge, of the music. Each time signature carried with it a James Relly, Elizabeth Rowe, Ann Steele, Charles tactus, an implied tempo, that singers followed to Wesley, John Newton, and William Cowper were determine how fast or slow to sing. There were nine among the most prominent. But their contributions time signatures in common usage, categorized in so- were minor compared to the overwhelming popu­ called moods of time: common, triple, and compound. larity of Watts. Very few American poets were part Common time had four moods, marked C, (f, re­ of the text pool (e.g., Mather Byles, Jeremy Belknap, versed C, and 2/4; triple time, three moods, marked Timothy Dwight, and William Billings), and their 3/2,3/4, and 3/8; and compound time, two moods, contributions were very small. marked 6/4 and 6/8. Within each category, the moods were successively faster. For example, in the first The text played a controlling role in the perfor­ mood of common time (marked C), the quarter-note mance of the music. Not only did it convey the sense was to occupy one second of time. The second mood, of the subject being sung, but it also affected the also with a quarter-note as its beat note, was about tempo, dynamics, and mood of the music. Although half again as fast. The third mood, which had a half­ writers emphasized the effect of the words on per­ note beat, was also to take a second of time per beat. formance, the text that was printed with a tune was And the fourth mood, with a quarter-note as the beat not necessarily the one that was sung. Substitution note, was to take a full second of time per measure. of texts performed in public worship was a common Triple and compound time were similarly propor­ practice of the day. Nor was every verse of a psalm tioned. A more accurate approximation of tempo or hymn sung. Some stanzas could be omitted with­ could be obtained from the swing of a pendulum out damaging the sense of the subject. A joyous text keyed to the moods of time, and many tunebook was to be sung to a joyous tune, set in a major mode compilers provided pendulum lengths in their dis­ with vigorous rhythmic motion. Similarly, a lament­ cussions of this subject. A summary of metronome ing text required a minor-mode tune, with a moder­ markings, based on verbal directions and pendulum ate to slow pace. Some psalmodists even recom­ swings, is given in The Complete Works of Billings (v.4, mended changing the tempo of a tune if the mood of xlix, lxx). the text changed from verse to verse. The words could also affect the dynamics of the music. Those convey­ The tempo suggested by the time signature could ing strong images, such as "might," "strength," and be altered by the text being sung—as noted earlier, "power," were to be sung louder than those convey­ a lamenting text might be sung slower than indicated, ing milder images, such as "weak," "poor," and and a joyous text somewhat faster. The tempo might "lowly." Ejaculatory words, such as "Oh," "Ah," and also be altered by the composer's use of directive "Hark," were also to receive extra emphasis. Much words, such as fast, slow, vivace, and grave. These was left to the taste and discretion of the choir leader, directive words were intended to affect the basic PERFORMANCE PRACTICE • X lll

tempo set by the time signature, speeding up or slow­ ers, the perceptive choir leader could fashion a ing down the tempo by perhaps as much as a quarter dynamic, vibrant musical performance based on to a third. clues provided by the words, the musical texture, and custom. Because the choir had no conductor (the choir leader acted as leading singer rather than conduc­ tor), and each singer kept his or her own time by ORNAMENTATION raising and lowering the hand, tempo fluctuations, Improvised ornamentation of psalm tunes was such as those associated with accelerando and an American tradition dating back at least to the late ritardando, were not employed in psalmody. Appar­ seventeenth century. The uncontrolled improvised ently, even at the conclusion of a piece there was no embellishment of melodies was a motivation for the slowing down, except where the composer actually Boston clerics beginning singing schools in the 1720s. wrote longer note values. A congregation of voices, each singing the melody as it pleased the singer, must have raised a din that was DYNAMICS exhilarating to the participant but dismaying to the listener. Realizing that singers would ornament tunes Composers of psalmody used dynamic markings as they pleased, composers attempted to exert some only when they intended a special dynamic effect. measure of control over the number and placement Otherwise, the text being sung and the musical situ­ of ornaments. ation that prevailed determined the dynamic level. If a dynamic mark was used, a single word—piano, By the late eighteenth century only two graces forte, fortissimo—was placed above the treble staff. were widely recommended in tunebook introduc­ This indication affected all the voices singing at that tions: the trill and the transition. The trill, the rapid time. Dynamic change was abrupt; crescendo and alternation between a principal note and its upper diminuendo were seldom used in this music, except neighbor, was sometimes indicated in the music, in the fuging-tune. When no dynamic mark was usually at cadence points. However, it could also be present, the choirs sang at a moderate dynamic level, improvised by the performer, and some compilers which might be characterized in today's usage by supplied rules in their tunebooks for adding impro­ the term mezzoforte. Piano would be a degree softer, vised trills, usually accompanied by a warning not to and forte a degree louder, with fortissimo being as loud trill "promiscuously"—a caution to which singers as the choir could sing and still maintain a good choral likely paid little heed. sound. Other dynamic gradations, such as pianissimo, The one ornament that received universal appro­ mezzopiano, and mezzoforte, were rarely used. bation from the tunebook compilers was the transi­ Certain musical situations called for certain dy­ tion. This was usually an improvised ornament, al­ namic levels. If some of the voice parts were silent though occasionally transitions are notated as cue- for a phrase or two, those still singing were sup­ size notes slurred from the prior main note and fill­ posed to sing their parts piano. When the full chorus ing in a vocal leap of a third (rarely a fourth or larger entered again, it should enter forte. It was recom­ interval). The pitch of the transition note was to be mended that the third line of a four-line hymn be touched on quickly and lightly, as a graceful sliding sung soft, with the following fourth line sung loud. between the two main pitches. The only time a tran­ As the voices joined in the fuge of a fuging-tune, sition was proscribed was when a "mark of distinc­ they were to begin softly and increase in strength as tion" (a wedge-shaped staccato mark, performed as they entered, giving the effect of a crescendo. While an accent) stood over the notes. Then the vocal few specific directions were given by the compos­ portamento was not to be performed. Xiv • PERFORMANCE PRACTICE

Some of the younger psalmodists of the 1790s and performed with instruments. The answer is a matter early 1800s employed the appoggiatura, particularly of individual taste. If the choir is able to present a at phrase endings. Appoggiaturas were notated as good performance without instrumental assistance, cue-size eighth- or quarter-notes on the beat and that is probably preferred. However, choir directors slurred to the following main note. Eighth- and quar­ should not avoid the use of instruments for fear of ter-note appoggiaturas seem to have been used in­ being inauthentic. There is ample evidence that in­ terchangeably. Their value was determined by that struments were used in the singing galleries, in par­ of the following note: if the following note was a ticular the bass viol to support the bass voices. If the duple value, the appoggiatura took half; if triple, the church possesses an organ, that instrument might be appoggiatura took two-thirds. used to accompany both the choir and congregation singing. There is no record of the piano or harpsi­ ACCOMPANIMENT chord being employed to accompany the singing, Psalmody was composed originally as unaccom­ although they may have been used in the home when panied choral music. The tunebooks rarely contain this music was performed there. An organist accom­ separate instrumental parts or bass figures that panying psalmody must take care to play from the would suggest a keyboard accompaniment. Most open score or a transcription of it. In particular, the Congregational churches in New England had long bass line should not be thought of as an unfigured opposed the use of instruments in the meetinghouse bass. Since the contrapuntal procedures used by the and came to accept them only as an expedient to composers do not conform to thoroughbass rules, the support weak singing. During the 1790s some pas­ music does not follow those principles and disso­ tors, concerned over the deteriorating vocal part of nance will result from adhering to them. the service, asked members of the congregation who Much in the performance of early American could play certain instruments to sit in the choir and psalmody was left to the taste and judgment of the support the weak parts. The instruments commonly performers. This obviously led to a wide variation in used were the "bass viol" (i.e., cello) or bassoon to the quality of individual performances. Following double the bass, the flute or clarinet to help the directions, however faithfully, cannot, of course, counter, and the flute or violin to assist the treble. guarantee good performances, yet ignoring them can The tenor might also have been doubled by clarinet often distort the music. American psalmodists wrote or viola. The instruments usually played with the a music that embodied their faith, hopes, aspirations, singers, although they were occasionally permitted and visions, in an effort to communicate these to the to play over the tune before the singers entered. singers and listeners. It is most respectful of their ef­ Rarely, the choral sections of a composition were forts for present-day performers to sing their music connected by an instrumental "symphony" (a brief in a style that enhances these qualities. However, the passage without underlaid text) that shared one or important thing in all musical performance is to seek more staves with the vocal parts. to capture and convey the music's spirit. It should be The question often arises in modern performance musically convincing to the listener, and, if it is, that whether or not early American psalmody should be spirit will move both performers and listeners. Editorial Policy

ORGANIZATION OF THE EDITION seems likely best to represent the composer's inten­ Each volume of the series presents the music of ei­ tions. If the composer printed the work several times, ther one composer or several composers who worked the latest printing is considered the definitive ver­ at about the same time in the same region. Each sion. Variants in the earlier versions are discussed in composer's works are presented in alphabetical or­ the commentary. der by title. This arrangement overrides the original 2. A tunebook with which the composer seems likely format in which some of the music was published— to have had some connection, even though he was in collections with their own importance and integ­ not the compiler, is given the second highest prior­ rity. However, many of the pieces are taken from ity. This is often the earliest printing of a work, and different collections, most of which contained com­ thus is likely to represent the composer's intentions. positions of many other composers. Except in a few Later printings, often reprinted from this version, cases where the tunebook contained only the music have usually not been considered. of a single composer, there is little reason to retain the original order of pieces in a volume. Each volume 3. The earliest printing of a work has been selected begins with a brief introduction to the series, perfor­ if neither of the previous criteria apply. mance practice, the composer and his music, and this statement of general editorial policy. Following the MUSICAL ORTHOGRAPHY music, a commentary on the pieces and various in­ dexes are included. Slurs and ties Slurs indicating a melisma (two or more notes SOURCES sung to one syllable) have not been used in this edition. Instead, the placement of syllables and a line The sources of all works included in this edition extending from the last letter of a word indicate the are tunebooks and other musical publications issued melisma's length. In some cases, several repeated between ca. 1780 and ca. 1820 by American printers. notes appear under a slur in the publication. If these Manuscripts, of which few survive, do not usually notes are separated by a bar line, the slur is inter­ contain definitive versions of the pieces, because the preted as a tie, which is supplied editorially. Re­ composer often revised them when preparing a col­ peated notes may also occur within a bar; in most lection for printing. Tunes were often reprinted in such instances, the notes are not treated as tied, but different tunebooks, occasionally with some varia­ should be articulated in performance. In some in­ tion in their musical detail. In choosing which ver­ stances, however, repeated notes within a bar under sions most clearly represent the composers' inten­ a slur have been considered as ties: when the re­ tions, the following criteria have been observed: peated notes constitute a notational value for which 1. A tunebook for which the composer was also the a single symbol is unavailable (such as the value of compiler has been given the highest priority. This five eighth-notes). Such articulated repeated notes

xv Xvi • EDITORIAL POLICY

are mentioned in the commentary; ties, however, an octave lower than the notated pitch. In this edi­ have been added without comment. tion, clefs for the treble and bass have been retained, the treble clef substituted for the alto clef in the In the few cases where only one note of a counter, and the octavating treble clef supplied to "chusing note" (a two- or three-note chord in one the tenor. Occasionally, the treble clef was also used vocal part) is tied, ties on the other notes have been in the counter voice, with the music notated an oc­ tacitly supplied. tave higher than it was intended to be sung. In such Accidentals cases, the counter line has been transposed an octave lower. Psalmodists were often inconsistent in applying accidentals in their music, particularly leading tones Meter signatures in pieces in minor keys, less frequently on the fourth The meter signatures used in this edition are those scale degree in major keys. Billings noted in The which the composers employed, with one exception: Continental Harmony that the seventh scale degree in the third mood of common time, indicated either by minor was usually raised in performance whether it a reversed C or a reversed C with a line through it, was indicated or not. While such alterations have not has not been retained and the time signature 2/2 been made editorially to this edition, accidental tacitly substituted. Performers are reminded that, in sharps may be added in performance as personal addition to specifying the metrical organization of preference dictates. Editorial accidentals in paren­ the music, meter signatures in psalmody also indi­ theses are supplied to clarify passages where nota- cated tempo (see Performance Practice). tional practice of the day required none. Composers sometimes used both the raised and lowered form of Repeat signs a pitch simultaneously, apparently on purpose. In The sign :S: was usually used to indicate the be­ such cases, an accidental natural sign has been sup­ ginning of a section of music to be repeated. Nor­ plied by the editor. mally placed above the treble line, the sign was in­ During this period, sharps and flats not in the tended to affect all voices. The same sign also indi­ key signature seem to have affected only the notes cated the end of the repeated section, except when before which they stood. Thus, one frequently finds the end of the repeat coincided with the conclusion several chromatically altered, repeated notes in suc­ of the piece, in which case it was usually omitted. In cession, each with its own sharp or flat. In this edi­ this edition, the dotted double bar has been substi­ tion, modern practice is applied: accidentals affect tuted without comment. Occasionally the first end­ all notes on that pitch for the duration of the mea­ ing of a repeated section has been adjusted to correct sure, and extra accidentals have been tacitly omitted. the notation. Such alterations have been noted in the Composers occasionally used sharps and flats as commentary. substitutes for the natural sign, to cancel temporarily Repetitions of words or lines of text were also at a sharp or flat in the key signature. This usage has times indicated with a repeat sign. These signs have been interpreted as calling for a natural sign, which been tacitly omitted and the intended text supplied has been supplied without comment. without mention in the commentary. Clef signs An unusual type of fugal repetition is found in a American psalmodists normally used three clef few pieces: staggered repeats in the fugal entries. Nor­ signs in their music: treble clef for treble and tenor mally, in the fugal section of a fuging-tune, all voices voices, alto clef for counter, and bass clef for the bass. repeat back to the onset of the fuge (usually begin­ The treble clef in the tenor was intended to be sung ning in the bass voice). However, in a few pieces, the EDITORIAL POLICY • xvii

repeat goes back to the start of that particular voice, Composers' strophic settings of multiple stanzas omitting prior rests, and retaining a four-part poly­ sometimes left one stanza unset. Such stanzas, usu­ phonic texture throughout. In this edition, the stag­ ally the last in the hymn, have been placed in the gered repeats have been written out, the repeat signs commentary, where performers may sing them with omitted, and a note made in the commentary. the music as they wish. For the additional stanzas of text, following contemporaneous sources, left mar­ TEXTS gins have been justified and the first letters of each line capitalized. Text sources and number of stanzas Composers normally set a single stanza of text, Poetical Meter indications most often the first stanza, but sometimes a later one. Psalm tunes and fuging-tunes were designed to In the present edition, contemporaneous sources of be sung strophically. In many cases, the tunes could the poetry that has been set, not necessarily the ver­ also be used with completely different texts from the sions printed in the tunebooks, are taken as the stan­ one the composer set. At the head of many tunes are dard. During the period many editions of the vari­ letters designating the poetic meter the tune is in­ ous hymn collections were printed, making it virtu­ tended to serve. There were four standard meter ally impossible to determine precisely which one a designations in Anglo-American psalmody: composer actually used. Although there may occa­ L.M. = Long Meter (4 lines of 8 syllables each in sionally be some small variation in the text of the iambic meter). psalm or hymn, an attempt has been made to find a contemporary source that closely matches the text C.M. = Common Meter (4 lines alternating 8 and that the composer set. 6 syllables each in iambic meter).

Metrical psalters and hymnbooks were wide­ S.M. = Short Meter (4 lines of 6, 6, 8, and 6 syl­ spread, so performers who wanted to sing more stan­ lables, respectively, in iambic meter). zas would have had easy access to them. In this edi­ H.M. = Hallelujah Meter (4 lines of 6 syllables tion, additional stanzas of text have been supplied each, followed by 4 lines of 4 syllables each, in iambic following the music of strophic pieces, providing meter). access to the poem from which the composers drew their text. Where possible, text sources or lyricists A fifth designation—P.M.—stands for Particular have been noted at the head of the music, although Meter, which could be any syllable pattern that does these may have been omitted in the original publica­ not conform to one of the four standard meters. In tion. Complete information on text sources and num­ this edition, the four standard designations are used ber of stanzas set is included in the commentary. without further explanation, but P.M. is followed by the exact syllable pattern given in brackets. When the composer set a stanza of a text other than the first, that stanza has been designated stanza Spelling, capitalization, and punctuation one and the remaining stanzas renumbered to follow. The spelling and punctuation of the text follow Composers also occasionally set two or, rarely, three the poetic source. In some publications, composers stanzas of text, but still intending strophic performance. tend to use phonetic spellings and word abbrevia­ In such cases, all of the text that was set is considered tions to save space on crowded copper plates and to to be the first stanza, and later stanzas have been com­ use sporadic punctuation. Significant differences in bined and renumbered to parallel the first. All such spelling between the underlaid text and the text information is presented in the commentary. source have been noted in the commentary, but ob­ xviii • EDITORIAL POLICY

vious misspellings have been tacitly altered. Changes tained when a word of several syllables is set to be in punctuation have been made without comment. sung to fewer syllables—e.g., "heav'n" for "heaven" and "sov'reign" for "sovereign." "Ye" was often used Capitalization also tends to be sporadic. In most as an abbreviation for the article "the"; in such cases eighteenth-century poetic sources, the first letter of "the" has been tacitly restored. However, when "ye" each line of a verse is capitalized, a practice retained has been used as an archaic form of "you" it has been in this edition. Occasionally other words, such as retained. One also encounters similar abbreviations nouns, adjectives, and prepositions, begin with a for other common words—such as "yt" for "that" capital letter in the tunebooks for no apparent rea­ and "wch" for "which"—which have been restored son; these have not been retained, except for proper to their modem spelling without comment. names and direct references to the Deity. Metaphori­ cal references to God or Jesus—e.g., savior, redeemer, creator, and judge—and pronoun references to them, OTHER ISSUES often capitalized in the text source, have been spelled Initial measure of rest with lowercase letters without mention. In some works a measure of rest is placed at the Names that are sometimes printed in italic type beginning of a tune. The composer apparently in­ in the text source have been printed here in roman tended a measure's silence to be observed between type. Quotation marks, usually set at the beginning the end of the underlaid text and the beginning of the of every line containing quoted words, are here placed next stanza to be sung. (Singers would normally at the beginning and end of the quotation, and at the continue beating time between stanzas, assuring a beginning of each subsequent stanza if the quotation precise beginning to the next stanza.) These rests were extends beyond a single verse. almost always omitted in later reprints of the piece, and they have been tacitly omitted in this edition. Partial texts Because of space constraints on tunebook pages, Notation of dotted notes engravers sometimes indicated only the first few In 6/4 and 6/8 time the values of the dotted words of the text, leaving it to the performers to whole-note and dotted half-note, respectively, were find the remaining words in psalm and hymn books. often notated as two dotted half-notes or two dotted In particular in fuging sections, the full text was quarter-notes tied. In 3/2 and 3/4 time, however, the usually set under one voice, normally the counter, dotted whole-note and dotted half-note were used. and only the beginning words of the text were In this edition, in 6/4 and 6/8 time, dotted whole- printed in the other voices. In this edition, the full notes and dotted half-notes are substituted without text fitting the music has been set in all voices with­ comment. out mention in the commentary. Even when limited space was not a consideration, the repetition of the Beaming of note groups prior line was often indicated by only the first two The beaming of groups of notes tends to be erratic or three words of that line. Such repetitions have in tunebooks. Normally an eighth-note (or smaller been written out in full. value) carrying a single syllable of text is not connected to the next note following it, but in melismas, where Contractions and abbreviations the single syllable may extend for two, three, four, or To save space, long words were often contracted more eighth-notes (or other smaller values), the beam­ in the tunebooks and, occasionally, in the text sources. ing may encompass all of the notes, some of them, or In most cases, contractions—such as "tho"' for notes may be flagged separately under a slur. In this "though" and "thro"' for "through"—have been tac­ edition, beaming follows the meter of the music, so itly spelled out in full. Contractions have been re­ that in 2/2 time four eighth-notes sung on one syllable EDITORIAL POLICY • xix

would be beamed as a group. No mention is made of text. However, psalmodists generally subscribed to beaming discrepancies in the commentary. the axiom that whenever the words and music did not coincide, the accents of the words prevailed. Thus, the Rebarring editor has adjusted the meters and barlines to align Occasionally, it has been necessary to rebar either the accents of the words and those of the music. whole pieces or parts of them, so that the musical and Whenever a piece or a passage has been rebarred, a textual accents coincide. Particularly in anthems, where note of the alteration has been made in the commen­ the prose text presented the composers with an irregu­ tary for that work, and the original meter signature lar succession of verbal accents, some psalmodists were and barring have been indicated above the treble line unable to coordinate their music to the stresses in the for the length of the rebarring. This page intentionally left blank Introduction to This Volume

This volume presents selected music by one of the best farmer. By 1776 the Holden family had moved to known and most prolific composers of New England Groton where Oliver briefly attended common school psalmody during the late eighteenth and early nine­ and was for a short time a cabinet-maker's appren­ teenth centuries. Oliver Holden was a native and life­ tice; however, he returned to farming at the conclu­ long resident of Massachusetts. Unlike many of his sion of his apprenticeship. By 1780 the family was fellow psalmodists, who lived and worked in relative living in Pepperell, Massachusetts. From the spring obscurity, he was a public man and was known as of 1782 to April 1783 Oliver served as a marine on the much for his roles in charitable, governmental, and frigate Dean (subsequently renamed the Hague), par­ religious affairs as he was for his music. Holden's ticipating in the capture of five British ships, on one prominence as a composer is attested to by the ap­ of which he returned to Boston. pearance of his tunes in numerous American sacred Holden's only known formal musical instruction collections, the many "occasional" compositions he occurred after his discharge, when he "Had 2 month's was asked to write, and the linkage of his name with instruction in a singing school 1783," during which William Billings in retrospective organizations and time he "attempted a little composition" (McCormick, collections devoted to New England psalmody, such 161). In 1785 he taught at a singing school in Pepperell, as the Billings and Holden Society (founded 1834) and but by the summer of that year he was living in the Billings and Holden Collection of Ancient Psalmody Charlestown, Massachusetts, where he was em­ (1836). Most of the music written by American com­ ployed as a clerk in a firm that was building a bridge posers of Holden's time virtually disappeared after across the Charles River. This town became his per­ their deaths (sometimes even before), but Holden's manent residence, and he in turn became one of its name and music have never been entirely forgotten, most prominent citizens. due largely to the continued use of his tune CORO­ NATION, the melody of which has been a staple of During his Charlestown years, Holden engaged the American congregational repertory for over 200 in a variety of musical and nonmusical occupations, years. He was an early exponent of "reform many of which were carried on simultaneously. He psalmody" and sought to accommodate his style to established himself as a carpenter, owner of a gen­ European ideals of church music, without, however, eral store, estate administrator, and dealer in real completely abandoning the forms and techniques of estate. His success in these fields led to his becoming American psalmody. Thus, his music is an interest­ one of the wealthiest men in the town. Consequently, ing amalgamation of styles and musical detail. he also became prominent in charitable and civic activities, serving as an officer, board member, or trustee for the Charlestown Association for the Ref­ The Life and Music of Oliver Holden ormation of Morals, Charlestown Temperance Soci­ ety, Charlestown Society for Promoting the Educa­ Oliver Holden was bom in Shirley, Massachusetts, tion and Good Morals of Children, Charlestown on 18 September 1765, the son of a carpenter and Anti-Slavery Society, Massachusetts Baptist Mission­

xxi xxii • INTRODUCTION TO THIS VOLUME

ary Society, and numerous other organizations. An in 1836. At the time of his death he was listed as a active Mason, Holden was affiliated with Charles­ pewholder in the Baldwin Place (Second) Baptist town's King Solomon's Lodge; he was also a mem­ Church of Boston, suggesting his membership in that ber of the famous Ancient and Honorable Artillery congregation. Company of Boston. Among the many governmen­ tal posts he held in Charlestown were the positions Many of Holden's musical activities were linked of Clerk of the Market, Collector of Taxes, Surveyor closely with his civic, charitable, and religious pur­ of Boards, Auditor of the Treasurer's Accounts, suits. He was often called upon to perform or com­ member of the Board of Health, Fire Ward, Tything- pose—or sometimes both—for such events as Man, member of the board of Selectmen, Overseer of Charlestown's annual festival of St. John the Bap­ the Poor, Surveyor of Highways, and Assessor. In tist, the annual election day of the Ancient and Hon­ 1818, 1825, and 1828 to 1833 Holden served as orable Artillery Company, the dedication of a new Charlestown's representative to the Massachusetts meetinghouse in Lansingburg, New York (1794), the General Court (i.e., state legislature); between 1809 first anniversary of the Boston Female Asylum and his death he held appointments as a justice of the (1801), and the funerals of important persons, such peace from five different governors of the Common­ as the prominent Charlestown citizen Nathaniel wealth of Massachusetts. Gorham (1796) and the pastor of the First Baptist Church of Boston, Samuel Stillman (1807). Com­ In addition to his many charitable and civic ac­ memorations of the death of George Washington tivities Holden was an active churchman. Baptized held in 1800 called forth an entire collection of pieces into the Congregational church in Shirley, he evi­ by Holden (Sacred Dirges). He appeared publicly as dently joined the Charlestown Congregational a vocal soloist and perhaps also as an instrumental­ Church shortly after he settled in that community. In ist (he owned an organ that is still in existence). the early 1790s, however, he associated himself with Holden continued to teach singing schools and direct the Baptists. Holden was instrumental in helping to singing societies through the early years of the nine­ secure a pastor for the Second Baptist Church of teenth century. He showed his interest in the tex­ Boston in 1790, although he does not seem to have tual side of sacred music by authoring a number of been a member of this congregation at the time. On hymn texts, 19 of which appeared in The Young 7 August of the following year, he was received into Convert’s Companion (1806). However, he seems to the First Baptist Church of Boston, probably through have largely abandoned public musical activities rebaptism. Holden was a faithful and active member after about 1807. of this body for ten years, leaving it only when he and 13 other communicants were dismissed in April The musical interrelationships between Holden 1801 to form the First Baptist Church of Charlestown. and the First Baptist Church of Boston are of particu­ The next month the fledgling congregation moved lar interest. About a month and a half after he joined into a new meetinghouse for which Holden had the church the congregation voted to sing from the donated the land and a large sum of money. When English Baptist John Rippon's Selection of Hymns at a dispute arose in the Charlestown church over the observances of baptism and the Lord's Supper. It was disciplining of its members, Holden and several other undoubtedly through this source that Holden be­ persons left in 1809 to form the Second Baptist Church came familiar with Edward Perronet's text "All hail of Charlestown, which was nicknamed the "Puritan the power of Jesus' name," for which he composed Society" because of the strict standards it set for its CORONATION (though Holden consistently attrib­ members. Though he seems to have had no formal uted the text to Samuel Medley; Rippon had not training in theology, Holden served as the teaching included an attribution). The first notice of a choir in minister or pastor of this church until it disbanded this church dates from 1771 and, though there is no INTRODUCTION TO THIS VOLUME * XX111

direct evidence that Holden became its director after No tunes in any of these post-1796 books— he joined the church in 1791, there is every reason to including the three editions of the Worcester Collection— suppose that he did so. In a 1797 diary entry William were credited directly to Holden. However, the ex­ Bentley, pastor of the East Congregational Church in tent of his personal contributions to these collections Salem, characterized the vocal music of the First can be established with reasonable certainty. Holden Baptist Church as "excellent" (Bentley, 11:224). The seems to have been conscientious in giving credit to 1801 dedication of the meetinghouse of the First other composers represented in his collections, sug­ Baptist Church of Charlestown featured two new gesting that when no name appears the tune is his. works by Holden (DEDICATORY ANTHEM, DEDI­ A number of the anonymous tunes were printed in CATORY HYMN), as well as the set piece he had works by other compilers where they were given an composed previously for the church in Lansingburg, attribution to Holden. Finally, some of the anony­ New York (DEDICATORY POEM); the choir of the mous tunes can be identified as Holden's through Boston church undoubtedly furnished the music other documents, such as newspaper accounts of under Holden's direction on this occasion (Music, performances and the composer's "Incidents in the 19-21). life of Oliver Holden" (McCormick, 161-162). Sev­ eral tunes by Holden that did not appear in any of the Holden compiled or had a hand in assembling at tunebooks he edited were printed in collections by least 15 collections of music, some of them revised other compilers. Taking all these factors into consid­ editions of earlier tunebooks. Between 1792 and 1796 eration yields a total of over 230 published pieces that he published the American Harmony (1792), The Union are almost certainly by Holden (McCormick, 366-378). Harmony (2 vols., 1793), The Massachusetts Compiler (1795, with Hans Gram and Samuel Holyoke), and a Holden wrote in the style and forms utilized by second edition of Volume 1 of The Union Harmony most other New England composers—including (1796). The first of these contained exclusively his psalm and hymn tunes, fuging-tunes, anthems, and own music; the others included not only music spe­ set-pieces—but he may be characterized as a com­ cifically attributed to "Holden," but also pieces by poser of "reform psalmody." As early as 1793 he other composers. After 1796 Holden quit signing his voiced objections to "fuging music," which he name to tunebooks, except for the sixth, seventh, and claimed "in general is badly calculated for divine eighth editions of the influential Worcester Collection worship" (Union Harmony), although this did notpre- of Sacred Harmony (1797, 1800, 1803). Nevertheless, vent him from writing fuging-tunes himself and in­ several anonymous volumes of the late eighteenth cluding them in The Union Harmony and subsequent and early nineteenth centuries have been positively collections. His collaboration with Samuel Holyoke identified as Holden's works, based on internal evi­ and especially Hans Gram in The Massachusetts Com­ dence, similarities between the collections, concor­ piler (1795) seems to have marked his wholesale dances with tunebooks by other compilers that con­ adoption of European ideals of musical composition. tain pieces attributed to Holden, and secondary Holden's reform perspective is evident in JEHOVAH sources. These include Sacred Dirges, Hymns, and SPEAKS from The Massachusetts Compiler, which Anthems (1800), The Modern Collection of Sacred Music contains a number of features that were not typical (1800), Plain Psalmody, or Supplementary Music (1800), of New England psalmody: the "air" is in the top the third edition of The Union Harmony (1801, vol. 1 part, the bass is built mainly on chord roots and pedal only), The Charlestown Collection of Sacred Songs (1803), points, the treble and tenor are linked together in and Occasional Pieces (1807); and if he was not the chains of parallel thirds, and expressive "sighing" chief compiler, he almost certainly had a hand in The figures abound. Holden had used some of these fea­ Young Convert's Companion (1806) and The Suffolk tures in earlier works, but rarely to such an extent Selection of Church Musick (1807). and in such a combination. xxiv • INTRODUCTION TO THIS VOLUME

Holden's reform tendencies are most obvious rence among American composers of the time. in Sacred Dirges, which includes several works in­ Holden's style has been aptly described as "a corporating recitatives, solo airs (with or without mixture of the rugged, angular American style and instrumental support), and independent instru­ the suave grace that characterizes European style mental parts. These works sometimes approach the in the late eighteenth century" (Wienandt and form and dimensions of the cantata, a rare occur­ Young, 214).

The Contents of this Edition

The number and length of Holden's works dictate included of the antiphonal plain tune, antiphonal that only a selection from them can be presented here. extended tune plus chorus, and chorus (for descrip­ The pieces found in this edition were chosen to illus­ tions of these forms see Kroeger, 257, 323-330, 396­ trate certain selected features of the composer's out­ 403). Third, an attempt has been made to provide put. First, works are included that were held in high music from all periods of Holden's compositional life, regard by both the composer and his contemporar­ ranging from his American Harmony (1792) through ies. The edition contains pieces that Holden himself The Suffolk Selection (1807). Finally, pieces were se­ printed in at least five tunebooks, as well as works lected that are remarkable because of the occasions that appeared in at least three collections published for which they were composed (PHENOMENA, by other compilers before 1820. Second, an attempt DEDICATORY ANTHEM), their significance as in­ has been made to maintain the approximate propor­ dicators of a stylistic change (JEHOVAH SPEAKS), tions of the forms in which he wrote compared to his their use of an unusual text (NEW UNION), or sim­ total output. The forms most commonly represented ply because of the quality of the music itself. Some in Holden's corpus of works fall into the following works fall into more than one of these categories; an rough percentages: antiphonal extended tune (29%), example is Sacred Dirges, the entire contents of which extended tune (22%), fuging-tune (20%), plain tune are included as a separate group because of the (18%), set-piece (6%), and anthem (5%). Not count­ uniqueness of the event for which the music was ing pieces from Sacred Dirges, which is a special case, written and the progressive nature of the style em­ the present edition contains the following approxi­ ployed. Obviously, any judgment regarding musical mate percentages of these forms: antiphonal extended quality will necessarily be somewhat subjective, and tune (31%), extended tune (26%), fuging-tune (22%), there are a number of fine pieces by Holden that are plain tune (21%), set-piece (6%), and anthem (6%). not represented here. Nevertheless, this edition con­ (These figures do not necessarily total 100% due to tains an appropriate sampling of music by one of early rounding and other factors.) Single examples are America's most important composers.

Works Cited

Bentley, William. The Diary of William Bentley, D. D. Gram, Hans, Samuel Holyoke, and Oliver Holden. Salem, MA: Essex Press, 1907; reprint, Gloucester, The Massachusetts Compiler of Theoretical and Prac­ MA: Peter Smith, 1962. tical Elements of Sacred Vocal Music. Boston: Isaiah Billings and Holden Collection of Ancient Psalmody. Thomas and Ebenezer T. Andrews, 1795. Boston: Marsh, Capen, & Lyon, 1836. Holden, Oliver. American Harmony. Boston: Isaiah INTRODUCTION TO THIS VOLUME • XXV

Thomas and Ebenezer T. Andrews, 1792. ------. Laus Deo! The Worcester Collection of Sacred -----. The Charlestown Collection of Sacred Songs. Harmony. 7th ed. Boston: Isaiah Thomas and Boston: Isaiah Thomas and Ebenezer T. Andrews, Ebenezer T. Andrews, 1800. 1803. ------. Laus Deo! The Worcester Collection of Sacred ---- . The Modern Collection of Sacred Music. Boston: Harmony. 8th ed. Boston: Isaiah Thomas and Isaiah Thomas and Ebenezer T. Andrews, 1800. Ebenezer T. Andrews, 1803. ---- . Occasional Pieces, adapted to the opening of a ------. The Suffolk Selection of Church Musick. Boston: place of worship—the constituting of a church—and, Thomas & Andrews, 1807. the ordination of a minister. [Boston]: n.p., [1807]. ------. The Young Convert's Companion. Boston: E. — . Plain Psalmody, or Supplementary Music. Bos­ Lincoln, 1806. ton: Isaiah Thomas and Ebenezer T. Andrews, Kroeger, Karl Douglas. "The Worcester Collection of 1800. Sacred Harmony and Sacred Music in America ---- . Sacred Dirges, Hymns, and Anthems, commemo­ 1786-1803." Ph.D. dissertation, Brown University, rative of the death of General George Washington. 1976. Boston: Isaiah Thomas and Ebenezer T. Andrews, McCormick, David W. "Oliver Holden, Composer [1800]. and Anthologist." D.S.M. dissertation, Union ---- . The Union Harmony. 2 vols. Boston: Isaiah Theological Seminary, 1963. Thomas and Ebenezer T. Andrews, 1793. Music, David W. "Oliver Holden (1765-1844): An Early ---- . The Union Harmony. 2nd ed. [vol. 1 only]. Baptist Composer in America," in Harry Eskew, Boston: Isaiah Thomas and Ebenezer T. Andrews, David W. Music, and Paul A. Richardson, Sing­ 1796. ing Baptists: Studies in Baptist Hymnody in America. ---- . The Union Harmony. 3rd ed. [vol. 1 only]. Nashville, TN: Church Street Press, 1994,17-25. Boston: Isaiah Thomas and Ebenezer T. Andrews, Rippon, John. A Selection of Hymns. London: Thomas 1801. Wilkins, 1787. — . Laus Deo! The Worcester Collection of Sacred Wienandt, Elwyn A. and Robert H. Young. The An­ Harmony. 6th ed. Boston: Isaiah Thomas and them in England and America. New York: Free Press, Ebenezer T. Andrews, 1797. 1970. This page intentionally left blank Oliver Holden: Selected Works This page intentionally left blank ACCEPTANCE

Watts Psalm 119ii C. M.

*= $ £ When mid - night dark - ness veils the skies, I call thy works to mind; My

When mid - night dark - ness veils the skies, I call thy works to mind; My *»- ji j j i i i j j

W hen_____ mid - night dark - ness veils the skies, I call thy works to mind; My

When mid - night dark - ness veils the skies, I call thy works to mind; My

2. $ m thoughts in warm de - vo - tion__ rise, And sweet ac - cept - ance find, find. #J-J ■ I j—J *thoughts i in n___ warm de - vo - tion rise, And sweetac - cept - ance find, find. m m thoughts in___ warm de - vo - tion___rise, And sweet. ac - cept - ance find, find.

J - J IlT r 1 Lrir i..\m thoughts in___ warm de - vo - tion___rise, And sweet. ac - cept - ance find, find.

3 ADDISON

Joseph Addison C. M. Pion0 Cresc.

I I Thy mer - cy sweet -ens ev' - ry soil, Makes ev' - ry re - gion please; The

11 Makes ev' - ry re - gion please; -

II " Thy mer - cy sweet-ens ev' - ry soil, Makes ev' - ly re - gion please; -

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2. Think, 0 my soul, devoutly think; 5. The storm was laid, the winds retir'd, How with affrighted eyes, Obedient to thy will; Thou saw'st the wide extended deep, The sea that roar'd at thy command, In all its horrors rise. At thy command was still.

3. Confusion dwelt in every face, 6. In midst of dangers and of death And fear in every heart; Thy goodness I'll adore; When waves on waves, and gulphs in I'll praise thee for thy mercies past, gulphs, And humbly hope for more. O'ercame the pilot's art. ADDISON 4. Yet then, from all my griefs, 0 Lord, Thy mercy set me free; Whilst in the confidence of prayer, My hope repos'd on thee.

" ALIBAMA

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" Lo, there, a vile degenerate race; 4. Thus shall God’s providence appear Pale terror sits on ev’ry face: Without a shade divinely fair; Here, on the right, a joyful band, And blushing doubt with joy confess, The sons of suff ring virtue stand. The Lord’s a God of righteousness.

" The sentence pass’d, lo, these arise ALIBAMA To bliss and glory in the skies; While those, who once stood high in fame, Sink down to long contempt and shame.

5 ALPHA

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2. While such my views, the radiant sun Sheds a more sprightly ray; Each object smiles: all nature charms; I sing my cares away.

ALPHA

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7 AMIENS

Watts Hymns II No. 14 S. M.

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2. One day amidst the place Where my dear God hath been, Is sweeter than ten thousand days Of pleasurable sin. My willing soul would stay In such a frame as this, And sit and sing herself away To everlasting bliss.

AMIENS

9 AN ANTHEM FOR FAST DAY

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AUSPICIOUS MORN A Christmas Hymn John Milton (altered) P. M. [6.6.10.6.6.10] Air M oderato

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8 prince - oflight

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2. The shepherds on the lawn, 5. Sounds of so sweet a tone Before the point of dawn, Before were never known, In social circle sat, while all around But when of old the sons of morning sung, The gentle, fleecy brood While God dispos'd in air Or cropp'd the flow'ry food, Each constellation fair, Or slept, or sported on the verdant ground. And the well-balanc'd world on hinges hung. 3. When lo! with ravish'd ears, Each swain delighted hears 6. Hail, hail, auspicious mom! Sweet musick, offspring of no mortal The saviour Christ is born: hand; (Such was th'imrnortal seraph's song Divinely warbled voice, sublime!) Answ'ring the stringed noise, Glory to God in heav'n! With blissful rapture charm'd the list'ning To man sweet peace be giv'n, band. Sweet peace and friendship to the end of time! 4. They saw a glorious light Burst on their wond'ring sight, AUSPICIOUS MORN Harping in solemn quire, in robes array'd, The helmed cherubim And sworded seraphim Are seen in glitt'ring ranks with wings display 'd.

- BENEFICENCE

John Taylor P. M. [7.7.7.7.7.7.7.7] Air J* J I J I J

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(55)

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15 2. Lord, what o ff ring shall we bring, 3. Willing hands, to lead the blind, At thine altars when we bow? Bind the wound, or feed the poor; Hearts, the pure, unsullied spring Love, embracing all our kind, Whence the kind affections flow; Charity, with lib’ral store. Soft compassion’s feeling soul, Teach us, O thou heav’nly king! By the melting eye express’d; Thus to show our grateful mind, Sympathy, at whose control Thus th’accepted o ff ring bring, Sorrow leaves the wounded breast; Love to thee, and all mankind.

BENEFICENCE

BETHSAIDA

John Newton S. M.

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2. How often have I seen Year, 0 would the Lord appear, The healing waters move; My malady to heal; And others round me, stepping in He knows how long I've languish'd here, Their efficacy prove. And what distress I feel.

3. But my complaints remain, Year, How often have I thought I feel the very same; Why should I longer lie? As full of guilt, and fear, and pain, Surely the mercy I have sought As when at first I came. Is not for such as I.

- 6. But whither can I go? 8. No: he is full of grace; There is no other pool He never will permit Where streams of sov’reign virtue flow A soul, that fain would see his face, To make a sinner whole. To perish at his feet.

7. Here then, from day to day, BETHSAIDA I’ll wait and hope, and try; Can Jesus hear a sinner pray, Yet suffer him to die?

BRIGHT REVERSION

Anne Steele L. M. ^ A Air I M oderato

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2. Jesus, to thee, I breathe my prayer, 3. O let me hear that voice divine Reveal, confirm my interest there: Pronounce the glorious blessing mine! Whate’er my humble lot below, Enroll’d among thy happy poor, This, this my soul desires to know! My largest wishes ask no more.

BRIGHT REVERSION

19 CAMDEN

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20 2. No more shall atheists mock his long delay; His vengeance sleeps no more; behold the day! Behold! the judge descends; his guards are nigh; Tempests and fire attend him down the sky. When God appears, all nature shall adore him; While sinners tremble, saints rejoice before him.

3. "Heav'n, earth, and hell, draw near: let all things come, To hear my justice and the sinner's doom: But gather first my saints (the judge commands); Bring them, ye angels, from their distant lands." When Christ returns, wake every cheerful passion; And shout, ye saints, he comes for your salvation.

4. "Behold my covenant stands for ever good, Seal'd by th'eternal sacrifice in blood, And sign'd with all their names; the Greek, the Jew, That paid the ancient worship or the new." There's no distinction here, join all your voices, And raise your heads, ye saints, for heav'n rejoices.

5. "Here (saith the Lord) ye angels, spread their thrones, And near me seat my fav'rites and my sons. Come, my redeem'd, possess the joys prepar'd Ere time began, 'tis your divine reward." When Christ returns, wake ev'ry cheerful passion; And shout, ye saints, he comes for your salvation.

6. "I am the saviour, I th'almighty God, I am the judge: ye heav'ns proclaim abroad My just eternal sentence, and declare Those awful truths that sinners dread to hear." When God appears, all nature shall adore him; While sinners tremble, saints rejoice before him.

21 7. "Stand forth, thou bold blasphemer, and profane, Now feel my wrath, nor call my threat'nings vain; Thou hypocrite, once dress'd in saints attire, I doom thee, painted hypocrite, to fire." Judgment proceeds; hell trembles; heav'n rejoices; Lift up your heads, ye saints, with cheerful voices.

8. "Not for the want of goats or bullocks slain, Do I condemn thee; bulls and goats are vain Without the flames of love: in vain the store Of brutal off rings that were mine before." Earth is the Lord's; all nature shall adore him; While sinners tremble, saints rejoice before him.

9. "If I were hungry, would I ask thee food? When did I thirst, or drink thy bullock's blood? Mine are the tamer beasts and savage breed, Flocks, herds, and fields, and forests where they feed." All is the Lord's; he rules the wide creation: Gives sinners vengeance, and the saints salvation.

10. "Can I be flatter'd with thy cringing bows, Thy solemn chatt'rings and fantastic vows? Are my eyes charm'd thy vestments to behold, Glaring in gems, and gay in woven gold?" God is the judge of hearts, no fair disguises Can screen the guilty when his vengeance rises.

11. "Unthinking wretch! how couldst thou hope to please A God, a spirit, with such toys as these? While with my grace & statutes on thy tongue Thou lov'st deceit, & dost thy brother wrong." Judgment proceeds; hell trembles; heaven rejoices; Lift up your heads, ye saints, with cheerful voices.

12. "In vain to pious forms thy zeal pretends; Thieves & adult'rers are thy chosen friends: While the false flatt'rer at my altar waits, His harden'd soul divine instruction hates." God is the judge of hearts, no fair disguises, Can screen the guilty when his vengeance rises.

13. "Silent I waited with long-suff ring love; But didst thou hope that I should ne'er reprove? And cherish such an impious thought within, That the all-holy would indulge thy sin?" See, God appears; all nations join t'adore him; Judgment proceeds, and sinners fall before him.

22 14. "Behold my terrors now; my thunders roll, And thy own crimes affright thy guilty soul: Now like a lion shall my vengeance tear Thy bleeding heart, and no deliv’rer near." Judgment concludes; hell trembles; heav’n rejoices; Lift up your heads, ye saints, with cheerful voices.

15. Sinners, awake betimes; ye fools, be wise; Awake before this dreadful morning rise; Change your vain thoughts, your crooked works amend, Fly to the saviour, make the judge your friend: Then join the saints: wake ev’ry cheerful passion; When Christ returns, he comes for your salvation.

CAMDEN

CANTON

Watts Psalm 122 C. M.

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24 2. He hears our praises and complaints! And while his awful voice Divides the sinners from the saints, We tremble and rejoice. Peace be within this sacred place, And joy a constant guest! With holy gifts and heav’nly grace Be her attendants blest!

CANTON

CHOSEN RACE

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25 Q5]

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2. That so thy wond’rous way 5. Let diff ring nations join May through the world be known; To celebrate thy fame; While distant lands their tribute pay, Let all the world, O Lord, combine And thy salvation own. To praise thy glorious name.

3. Let diff ring nations join 6. Then shall the teeming ground To celebrate thy fame; A large increase disclose; Let all the world, O Lord, combine And we with plenty shall be crown’d, To praise thy glorious name. Which God, our God, bestows.

4. O let them shout and sing 7. Then God upon our land With joy and pious mirth; Shall constant blessings show’r; For thou, the righteous judge and king, And all the world in awe shall stand Shalt govern all the earth. Of his resistless pow’r.

CHOSEN RACE

26 CHRISTMAS

Watts Hymns I No.3 S. M.

p « - if *« =

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27 El

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2. The Lord, the highest God, 5. Go humble swains, said he, Calls him his only son; To David’s city fly, He bids him rule the lands abroad, The promis’d infant, bom to-day, And gives him David’s throne. Doth in a manger lie.

3. O’er Jacob shall he reign 6. With looks and hearts serene, With a peculiar sway; Go visit Christ your king; The nations shall his grace obtain, And straight a flaming troop was seen; His kingdom ne’er decay. The shepherds heard them sing.

4. To bring the glorious news, 7. Glory to God on high! A heav’nly form appears; And heav’nly peace on earth, He tells the shepherds of their joys, Good-will to men, to angels joy, And banishes their fears. At the redeemer’s birth!

29 8. In worship so divine, 9. Glory to God on high! Let saints employ their tongues, And heav’nly peace on earth, With the celestial host we join, Good-will to men, to angels joy, And loud repeat their songs; At our redeemer’s birth!

CHRISTMAS

COMPASSION

Benjamin Beddome S. M. H i J J -

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Did Christ o’er sin - ners weep? And shall our cheeks be dry? ------

Did Christ o’er sin - ners weep? And shall our cheeks be dry? Let

a J ir r J J

Let floods of pen - i - ten - tial grief Burst forth from ei - ther eye. J. J iJ m ~m ----- er; floods of pen - i - ten - tial grief. Burst forth from ei - ther eye.

Let floods of pen - i - ten - tial grief. Burst forth from ei - ther eye.

floods of pen - i - ten - tial grief. Burst forth from ei - ther eye.

30 2. The son of God in tears, 3. He wept, that we might weep, Angels with wonder see! Each sin demands a tear; Be thou astonish’d, O my soul, In heaven alone no sin is found, He shed those tears for thee. And there’s no weeping there.

COMPASSION

A CONCLUDING ANTHEM For Thanksgiving Day Psalms 65, 89, 145; Nehemiah 8 Moderato $ £ The Lord is good to all, and his ten - der mer - cies are ov - er all his works___ The

Chorus m Lord is good to all, and his ten - der mer - cies are ov er all___ his works. Hal - le -

Hal - le-

Hal - le-

Hal - le-

31 13 $ m lu - jah, Hal - le - lu - jah, Hal le - lu jah.

!u - jah, Hal - le - lu - jah, Hal le - lu jah.

£ ft r...n lu - jah, Hal - le - lu - jah, Hal le - lu jah. All thy works shall__

lu - jah, Hal - le - lu - jah, Hal le - lu jah.

HD rT 0 it------,

------1

1* - 1 § ■ - - = 1

r t = \ j l * - T r mJ mJ FjF=^=--F K 1 O 4g = ------praise thee, 0 Lord, and thy saints shall___ bless thee, in thy name shall they re - joice,

- = k ......

32 EH

£ lu - jah, Hal - le - lu - jah, Hal le - lu jah.

~~o------lu - jah, Hal - le - lu - jah, Hal le - lu - jah. The eyes of all wait up -

E J T ir 7 p lu - jah, Hal - le - lu - jah, Hal le - lu jah.

£ lu - jah, Hal - le - lu - jah, Hal le - lu - jah.

[35] $ Hal - le - lu - jah,

~ 9 ---- W

on thee O Lord, and thou giv est them their meat in due sea - son. Hal - le - lu - jah,

Hal - le - lu - jah,

Hal - le - lu - jah,

IE a m

Hal - le - lu - jah, Hal le - lu - jah. * i ~~o------le - lu - jahHal - le - lu jah, Hal le - lu - jahHal P Hal - le - lu - jah, Hal le - lu - jah.

Hal - le - lu - jah, Hal le - lu - jah. Thy paths drop fat - ness, and the lit - tie

33 123 m and the lit - tie hills re -

and the lit - tie

and the lit - tie hills_

hills re - joice, re - joice, and the lit - tie hills re - joice, re - joice,

j * »j i j==ia m joice, re - joice, and the lit-tle hills, . and the lit-tle $ hills re - joice, and the lit-tle hills,. and the lit - tie |.... ■ _ | J--.fc.Hz ¥ PPP f re - joice, and the lit-tle hills, and the lit -tie hills. J 1J 1 m M fg ir if re - joice, and the lit-tle hills,. and the lit-tle hills.

ED ff= " ■ m — 1 1 . 1 nm .1 y 1 =MI hiills do re - joice, do re - joi hP= ice on ev’ - ry side. • 9 *9 * L-W — U— ^^ J J 1U=^±1+ hills do re - joice, do re - joirp.j re - joir.ft, rp - joiice on ev’ - ry side. — w -m m f —7T~ I hh r •' H\ * L£------P — E a rritr M LMJ #=8 do re - joice, do re - joice, re - joiice on ev’ - ry side.

P=™r# W1 m 1. — ------* ------rJ- If f 1 ^ (T —- ...... v i do re-joice, do re-joice,. re - joice, re - jotce on ev’ - ry side.

3 4 Qffi] U - i 4 - — - 1 t — - 1 4 - - 1

■F ■ IT ff 1HP—■-----¥------ft—I1— ---- m-----=-----1 i f f (T ff ■ r'rl r|------

...| hi f) m T y it ff _ -i ff i r Mt—r if _ _ — =E=MJ? T f ^ - f r i'd- r m 3 m* yI M=\1 Go your way, eat the fat, and drink the sweet, and send por - tions un - to them for whom noth - ing is pre - par’d.

%tL..t ir r ir Hal - le - lu - jah, Hal - le - lu - jah, Hal le - lu jah, A £

Hal - le - lu - jah, Hal - le - lu - jah, Hal le - lu - jah, A

tJ 8 Hal le - lu - jah, Hal le - lu - jah, Hal le - lu - jah, A P Hal - le - lu - jah, Hal - le - lu - jah, Hal le - lu jah, A

35 CONCORD

Watts Hymns H No.30 S. M. P The hill of Zi - on yields A thou - sand sa - cred sweets,

The hill of Zi - on yields A thou - sand sa - cred sweets, Be -

p £ The hill of Zi - on______yields A thou - sand sa - cred sweets, -i u r r i J

The hill of Zi - on yields A thou - sand sa - cred sweets, Be -

0

2.

heav’n - ly_ fields, Or walk the gold - en streets streets. $ - J- 1 J. heav’n - ly fields, Or walk the gold - en streets,

heav’n - ly fields, Or walk the gold - en streets £

heav’n - ly fields, Or walk the gold - en streets,

36 2. Then let our songs abound, And ev’ry tear be dry; We’re marching through Immanuel’s ground, To fairer worlds on high.

CONCORD

CONFIDENCE

Henry AUine L. M.

* £ £

Now can my soul in God re - joice, I feel my sav-iour’s cheer - ing voice, My heart a-wakes to

$ —e>----- w— w— ------m m— w— —e r --- 9— ------— en — Now can my soul in___God re - joice, I feel my sav-iour’s cheer - ing voice, My heart a-wakes to

Now can my soul in God re - joice, I feel my sav-iour’s cheer - ing voice, My heart a-wakes to ir , ir r r r I r . i r i

Now can my soul in God re - joice, I feel my sav-iour’s cheer - ing voice, My heart a-wakes to

BO P £ sing his praise, And longs to join im - mor - tal lays. Hold me, O Je - sus, in thine arms, And

~w---- W--- w~'— sing his praise, And longs to join im - mor - tal lays.

m sing his praise, And longs to join__ im - mor - tal____ lays. m

sing his praise, And longs to join im - mor - tal lays. Hold me, O Je - sus, in thine arms, And

37 Piano

cheer me with im - mor - tal charms, m

Till I a - wake in realms a - bove For ev - er to en - m , m m

cheer me with im mor - tal charms, Till 1 a - wake in realms a - bove For ev - er to en -

ED Forte

Till I a - wake in realms a - bove For ev - er to en - joy thy love. $ Till I a - wake in realms a - bove For ev - er to en - joy thy love. J Ip r r p I p r r r ir r r

joy thy love, Till I a - wake in realms a - bove For ev - er to en - joy thy love.

joy thy love, Till I a - wake in realms a - bove For ev - er to en - joy thy love.

3 8 CORONATION

Edward Perronet C. M. Piano

All hail the pow’r of Je - sus’ name! Let an - gels pros - trate fall: Bring M- e i i i i -t- J- 1 1 es= £

All hail the pow’r of Je - sus’ name! Let an - gels pros - trate fall:

m All hail the pow’r of Je - sus’ name! Let an - gels pros - trate fall:

All hail the pow’r of Je - sus’ name! Let an - gels pros - trate fall: Bring

Forte Piano

r -r j r II—r l j - r r i r~r tr r ir r forth the roy - al di - a - dem, And crown him Lord of all, Bring £

And crown him Lord of _ all, Bring

% And crown him Lord of_ all, Bring J r r it m m forth the roy - al di dem, And crown him Lord of all, Bring

(ig

I f p m = w = > - r .------\ u id J I| J , „ ^ —d T. * _____ ------1 f f - — ■ r r

forth the roy - jal di - a - deim, And cr

forth the roy - al di - a - deim, And cr

\J ukl> p - 1 - i P = l - , l .....g ...... ' = 1 _i r ==■ forth the roy - jal di - a - dem, And cr m r r ------r — n • ■ t r ~ r r--=J forth the roy - al di - a - dem, And crown him Lord of all.

39 2. Crown him, ye martyrs of our God, 5. Babes, men, and sires, who know his love, Who from his altar call: Who feel your sin and thrall, Extol the stem of Jesse’s rod, Now joy with all the hosts above, And crown him Lord of all. And crown him Lord of all.

3. Ye chosen seed of Israel’s race, 6. Let every kindred, every tribe A remnant weak and small; On this terrestrial ball, Hail him who saves you by his grace, To him all majesty ascribe, And crown him Lord of all. And crown him Lord of all.

4. Ye Gentile sinners, ne’er forget 7. O that with yonder sacred throng, The wormwood and the gall; We at his feet may fall; Go, spread your trophies at his feet, We’ll join the everlasting song, And crown him Lord of all. And crown him Lord of all.

CORONATION

COWPER

William Cowper L. M.

F- F - - 4 For - give the song that falls so low Be - neath the grat - i - tude I owe!

------* ------w----wr— For - give the song that falls so low Be - neath the grat - i tude I owe!

For - give the song that falls so low Be - neath the grat - i - tude I owe!

For - give the song that falls so low Be - neath the grat - i - tude I owe! It

40 0 $ It means thy praise, how - ev er poor, An an-gel's song can

It means thy praise, how - ev - er poor,

It means thy praise, how - ev - er poor, It means thy praise, how - ev - er poor, f e e

means thy praise, how - ev - er poor, It means thy praise, how - ev - er poor, An an-gel’s song can

&J

do no more, It means thy praise, how - ev - er poor, An an - gel’s song can do no more.

It means thy praise, how - ev - er poor, An an - gel’s song can do no more.

means thy praise, how - ev - er poor, An an - gel’s song can do no

do no more, It means thy praise, how - ev - er poor, An an - gel’s song can do no

41 CROSS

Watts Hymns HI No. 10 L. M. $* a J. £ OL the sweet won - ders of that cross Where God the sav - iour lov’d . and_____ dy’d! $ ------* ---- * ------—------~~9----m----m------o------o------o— O! the sweet won - ders of that cross Where God the sav - iour lov’d and dy’d! $* I ,■ i - l £ O! . the sweet won - ders of that cross Where God the sav - iour lov’d------and----- m___m__ ^

O! the sweet won - ders of that cross Where God the sav - iour lov’d and dy’d!

0 $» ^ - y — l v = ^ = J I J Her no-blest life____ my____ spir - it_____ draws____ From his dear wounds___ and____ bleed - ing

~0-----9 ---9 ------—TJ-- —o — Her no-blest life my spir - it. draws From his dear wounds__ and____ bleed ing $ =J=r I . =J Her no-blest life____ my______spir - it_____ draws____ From ___ his dear wounds__ and____ bleed - ing

£ Her no-blest life my spir - it draws From his dear wounds and bleed - ing

42 HD * * J

With an - gels join to praise the lamb, And wor - ship at his fa - ther’s throne. With an - gels join to i

With an - gels join to

|* ftp |*

With an - gels___ join to £

With an - gels join to praise the lamb, And wor - ship at his fa-ther’s throne. With an - gels join to

J in n r J

praise__ the___lamb, With an - gels join to praise the lamb, And wor - ship___ at his fa - ther’s throne.

-9 ------w~ praise the lamb, With an - gels join to praise the lamb, And wor - ship at his fa - ther’s throne. f e e

praise__ the___lamb, With an - gels____join to praise___ the___lamb, And wor - ship___ at his fa - ther’s throne. j j j j 1 ,

praise the lamb, With an - gels join to praise the lamb, And wor - ship at his fa - ther’s throne.

43 A DEDICATORY ANTHEM

Psalm 48

m • u * m 4 = ^ CJ-1r h Great is thie Lord, and great - ly___ to___ b e ___ prais - ed ------—----- _ — ——_ . .. j -m ...... l ¥ = 1 F m F T _ 9 _ p is r iu e=p * Great is thte Lord, and great - ly to___ b e ___ prais - ed in the cit - y o f___ our___ God,

Great is the Lord, in the cit - y of our God,

Cresc. Piano $ £ In the moun - tain of his_____ hoi - i - ness, beau - ti - ful for sit - u - a - tion. Lr

In the moun - tain of his hoi - i - ness,

\E Cresc. ¥ r ir J i j |J~] r Wm The joy of the whole earth is____ Mount___ Zi - on; On the sides___ of the north,____

m

The joy of the whole earth, On the sides of the north,

44 Piano r P r hf r g ff-i !?• f - r | n ------H1 ■ — :=— m- • f ----- “■ — = — m— f ____L___/ __ _ t___ ir iin_r f m LJ V -r-1 God is known__ in her pal - a - ces for a ref - uge. A s____ we have 1heard so____ have we

1 m ^ m W * m ■w ------H' ...... ■■■■■ - ■ ■ t f - r Ir Ir rff ff- 1 [-U M 1 f r^t ir—-i ... 5 God is known__ in her pal - a - ces for a ref - uge. so____ have we

|| - _/ ___ J■ ____ r ... i r f ff if r r i l aJ | - =

God is known in her pal - a - ces for a ref - uge.

Cresc. f7\ r \-> uJ n ir j f i[> r~"ir~T seen___ in the cit - y of our God. God will es - tab - lish___ it for - ev - er.

h i' r ir ^ m ... seen___ in the cit - y of our God. God will es - tab - lish___ it for - ev - er. J J :ll J

in the cit - y of our God. God will es - tab - lish it for - ev - er. We have

$ ¥ £ We have thought of thy lov - ing kind - ness, ¥ We have thought of thy lov - ing kind - ness, thought of thy lov - ing kind - ness, ¥ £ thought of thy lov - ing kind - ness, thought of thy lov - ing kind - ness, thought of thy lov - ing kind - ness,

m r r i Lr We have thought___ of thy lov - ing____ kind - ness, O God, in the midst____ of thy

i t We have thought___ of thy lov - ing____ kind - ness, O God, in the midst____ of thy m ¥ We have thought of thy lov - ing kind - ness, O God, in the midst of thy

45 [73] n\ r\ J r ir p m J- tem - pie. Let Mount Zi - on re - jo ice ,. Zi - on re - joice

tem - pie Let Mount Zi - on re - joice. Let the J J- ■ II:- J f |T m J) J i -■

tem - pie. Let Mount Zi - on re - joice, Zi - on re - joice,

m m Let Mount Zi - on re - joice, Let the

¥ daugh - ters of Ju - dah be glad, Let Mount Zi - on re - joice, Let the r..r 4j.. jvp.

Let Mount Zi - on re - joice, Let the

nasi

f- f ■ ir ¥ For this God is our God, For this

£ For this God is our God, For this God is our God, For this ^ \T p , i .j= £ = £

ev - er For this God is our God, is our God, For this

46 rng

m ¥ God is our____ God for - ev - er. Hal - le - lu - jah, hal - le - lu - jah,

E . F-IJ J \U P God is our____ God for - ev - er. Hal - le lu - jah, hal - le - lu - jah A - men.

f e § =

God is our God for - ev - er. Hal - le - lu - jah, hal - le - lu - jah, A

DEDICATORY HYMN

L. M. Piano J. m m P Let flow - ing num - bers sweet - ly_____ rise, And waft______our prais - e s ___ to___the —

*

Let flow - ing num - bers sweet - ly rise, And waft______our prais - es to----- the —

47 Cresc. g«i i J' i r‘ J I I J l J J l I h i.— -Jh'iT P ftp a

skies, Let flow - ing num - bers sweet - ly rise, And waft our prais - es to the skies, For k

Let flow - ing num - bers sweet - ly rise, And waft______our prais - es to the skies, For j. . in P skies, Let flow - ing num - bers sweet - ly rise, And waft______our prais - es to the skies, For

Let flow - ing num - bers sweet - ly rise, And waft our prais - es to the skies, For

E5 .hi r f-rff

all the bless-ings life be-stows, And all the joys the gos - pel shows, And all______the joys . the gos - pel shows. h K K h MjjLh JllJlJlJl £ $ £ all the bless-ings life be-stows, And all the joys the gos - pel shows, And all______the joys the gos-pel shows. ITT . J.=3 m all the bless-ings life be-stows, And all the joy!joys the gos-pel shows, And all______the joys______the gos-pel shows. £ S - M f r \j j * m all the bless-ings life be-stows, And all the joys the gos - pel shows, And all______the joys______the gos-pel shows.

2. Here in thy courts we prostrate bow, 4. Here may the saints with truth be fed, To offer up the solemn vow; Pure from the gospel’s fountain head; To dedicate this sacred place, Here let the sinner hear his doom, And celebrate redeeming grace. And timely "flee the wrath to come."

3. Year, Now may the king of Zion hear! 5. O may thy church, in every place, His glory in this house appear! Increase in numbers and in grace; And, as in Israel’s ancient days, Till all the ransom’d millions rise Accept the offering and the praise. To shout redemption through the skies.

DEDICATORY HYMN

48 DEDICATORY POEM

John Lovett $ m With joy - ful hearts and tune - fill___ song, With m

With joy - ful hearts and tune - ful___ song With w m With joy - ful hearts and tune - fill___ song, Let us ap - proach the might - y Lord, With £ m With joy - ful hearts and tune - ful___ song, Let us ap - proach the might - y Lord, With

Q<5]

eg

claim his hon - ours with our tongue, And sound. his won d’rous truth a - broad. * - |" l " T'JJ _ I i,J J ' J A nd soun d.claim his hon - ours with our tongue, And sound.claim his won - d’rous truth a - broad. £

claim his hon - ours with our tongue, And sound. his won d’rous truth a - broad. » r r U J

claim his hon - ours with our tongue, And sound. his won - d’rous truth a - broad.

49 Eg

ED

50 /TN

sem - ble round. bis board, Raise their ho-san-nas to. the lamb, And E f e - ~

sem - ble round his board, Raise their ho-san-nas to. the lamb, And

51 d]

j r » ",

«T------1 j oy - ful day \Ve ded - i - c j ate tllis hoU:se to thee; Here Q & ®------l) w u joy - ful day We ded - i - cate this house to thee; Here A 4 X =------m •r— i 8 j oy - fill day \Ve ded - i - c;ate tllis house ito thee; Here n x * — P ------9 ------

joy - ful day We ded - i - cate this house to thee; Here

£

would__ we____ meet to sing___ and___ Pray> And learn___ how___ sweet thy dwell - ings be. * m would we meet to sing and pray, And learn how sweet thy dwell - ings be. —n---- P ~

would— we------meet to sing___ and___ Pray, And learn___ how___ sweet thy dwell - ings be.

would we meet to sing and pray, And learn how sweet thy dwell - ings be.

52 Moderato Piano^Q

■57 " ■

-A- t-H - 1 T8 * 1 n T—f—I]—I a p_ r f..—i

O king _ of saints, O tri - un’d God, Bow the_____ high heav’ns and lend____ thine

eh]

ear, O make___ this house thy fix’d a - bode, And let______the heav’n - ly dove rest here.

m £ O make this house thy fix’d a - bode, And let the heav’n - ly___ dove rest here, here. $ m O make this house thy__ fix’d a - bode, And let the heav’n - ly___ dove rest here, here. £

O make this house thy__ fix’d a - bode, And let the heav’n - ly___ dove rest here, here. £ O make this house thy fix’d a - bode, And let the heav’n - ly___ dove rest here, here.

53 DU] Moderato f l * - 1 P . _ n i t_■ ___ nJ __ ■j — " 3m__ 1 : J - - g H $ - - 1 * J ' - g - 1 i [ _ r J 1 6 — may Je - sus’ ___ charms A1 - lure___ ten___ thou - sand souls to love,

1 * - i

§ 1

I O - i — J ...... ! p - 1 * J L N y 1 j 1 8 With - in____ these___ walls

i M * - : k '

[1581 r j i t j Hm = ' m R ■ « ■ % 1 J O u 1 L I J 1 r n And all sup - port - ed by___ his___ arms, Shine bright__ in____ realms of bliss, in 4 ------= * __fL r r p /.W ...... p- r W jn ■ r " m U l y i l L g M U f And J d all sup - port - ed by___ his___ arms, Shine__ bright__ in____ realms of bliss, in

u>n—

Vivace S-fl it______-t.1—r- i H. 1 i - - i . m ^ - T l-1 -g ■ 1 Ef=» I-T ■ "I realms__ o f____ bliss a - bove. Th

54 [B5] J h > | * _h 1, . jFl d —j— ) J) ...... 9 ar - mies of the Lamb, Hymn hal - le - lu - jahs, Hymn hal - le - lu - jahs, -JMt . . i.

ar - mies of the Lamb, 1 - h m \_ .M__ ff M my LX — p [J r 7 * 8 ar - mies of the Lamb, Hymn hal - le - lu - jahs, Hymn hal - le - lu - jahs, —r---m—ff—-m-- p ------

ar - mies of the Lam b,______Hymn hal - le - lu - jahs to the

qih r i r--'1 t Hymn hal - le - lu - jahs, Hymn hal - le - lu - jahs, Hymn hal - le - lu - jahs to the son, Hymn hal - le - m £ Hymn hal - le - lu - jahs to theson Hymn hal - le -

Hymn hal - le - lu - jahs, Hymn hal - le -

Hymn hal - le -

Piano Forte Adagio £

lu - jahs to the son, The spir - it, and the great I Am. i m ~~d— lu - jahs to the son, The spir - it, and the great Am £

lu - jahs to the son, The spir - it, and the great I Am. I 7 I 7 7

lu - jahs to the son, The spir - it, and the great I Am. Their songs ser -

55 HU

IHl j j \m i i

lyre the notes re - sound. Heav’n’s full ton’d or - gan join______in praise, And world to

lyre the notes re sound. Heav'n’s full ton’d or - gan join in praise, And world to P_ l * r r ir r P lyre the notes re - sound. Heav’n’s full ton’d or - gan join______in praise, And world__ to____ * 3 = 2 r ir r ir r n r lyre the notes re - sound. Heav’n’s full ton’d or - gan join in praise, And world to

56 mu J i j J iJ J

peat the sound. To fa - ther, son and ho - ly ghost, Be cease - less praise and glor - y £ * -9---- 9 ---—D— peat the sound. To fa - ther, son and ho - ly ghost, Be cease - less praise and glor - y £2_

peat the sound. To fa - ther, son and ho - ly ghost Be cease - less praise and glor - y

e M e

peat the sound. To fa - ther, son and ho - ly ghost, Be cease - less praise and glor - y

M r Ic j- CJ* giv n, By all the high an - gel - ic host, By all____ on____ earth and $ f.t ir giv n, By all the high an gel - ic host, By all on earth and O—

p giv’n, By all the high an - gel - ic host, By all____ on____ earth and

giv n, By all the high an - gel - ic host, By all____ on____ earth and

57 [535]

DELIVERANCE

Henry Alline C. M. £ J J' i,J J

Soon shall I quit this mor - tal shore, And Je - sus stand my friend; My

Soon shall I quit this mor - tal shore, And Je - sus stand my friend; My J «j i J

Soon shall I quit this mor - tal shore, And Je - sus stand my friend; My ■fe *r f iJ £ Soon shall I quit this mor - tal shore, And Je - sus stand my friend; My

5 8 a m nights of grief shall all be o’er, And all. my lab - ors end.

nights of grief shall all be o’er, And all my lab - ors end.

p nights of grief shall all be o’er, And all. my _ lab - ors end. £ * nights of grief shall all be o’er, And all. my lab - ors end.

2. Then shall I reach the realms of bliss, 4. O what immortal scenes of bliss Where my beloved reigns; Will bear my soul away! Then I shall dwell where Jesus is, How sweet the realms of joy and peace And sing immortal strains. In uncreated day!

3. There I shall drink unmingled joy, DELIVERANCE From streams of love divine; No passing clouds for to annoy Where God in glory shines.

59 DESIRE OF NATIONS

Watts Horae Lyricae L. M. $ J. J U J Ye heav’n - ly gates, loose all your chains Let the e - ter - nal pil - lars bow! = 3 =

Ye heav’n - ly gates, loose all your chains; Let the e - ter - nal pil - lars bow!

Ye heav'n - ly gates, loose all your chains; Let the e - ter - nal pil - lars bow!

□ £

Blest sav - iour, cleave___ the star - ry plains, And make the crys - tal moun - tains flow. J. J I I J r p |., J.

Blest sav - iour, cleave___ the_____ star - ry plains, And make the crys - tal moun - tains flow.

Blest sav - iour, cleave the star - ry plains, And make the crys - tal moun - tains flow.

t Hark, how thy saints u - nite____ their___ cries, And pray and wait the

Hark, how thy saints u - nite___ their___ cries,

Hark, how thy saints u - nite____ their___ cries, u - nite their cries, And pray and wait the

u s

til* r r r , ]r j " . y> | 4— 1 gen’ - ral____ doom: Come thou,___ the____ j r F | Lt« ■ 9 4^-— =— J w ir i r J r r i 8 Come thou,___ the____ soul of all____ our____ joys, Come thou,___ the____ —■ -----S -----F -----P ----- F »y * -p r i |r ------n r r ? r ~p~...... 3------

gen' - ral------doom: Come thou,____ the____ soul of all____ our____ j°ys> Come thou, the

60 ng

soul of all_____ our_____ joys, Thou, the_____ de - sire of_ na - tions, come. $ m soul of all_____ our_____ j°ys* Thou, the_____ de - sire______of____ na - tions, come.

soul of all our joys, Thou, the de - sire of na - tions, come.

2. Put thy bright robes of triumph on, 4. O for a shout of violent joys And bless our eyes, and bless our ears, To join the trumpet’s thund’ring sound! Thou absent love, thou dear unknown, The angel herald shakes the skies, Thou fairest of ten thousand fairs. Awakes the graves, and tears the ground. Our heart-strings groan with deep Ye slumb’ring saints, a heav’nly host complaint; Stands waiting at your gaping tombs: Our flesh lies panting, Lord, for thee; Let ev’ry sacred sleeping dust And ev’ry limb, and ev’ry joint, Leap into life, for Jesus comes. Stretches for immortality. 5. Jesus, the God of might and love, 3. Our spirits shake their eager wings, New moulds our limbs of cumbrous clay; And burn to meet thy flying throne: Quick as seraphic flames we move; We rise away from mortal things Active, and young, and fair, as they. T ’attend thy shining chariot down: Our airy feet with unknown flight, Now let our cheerful eyes survey Swift as the motions of desire, The blazing earth and melting hills, Run up the hills of heav’nly light, And smile to see the lightnings play, And leave the welt’ring world in fire. And flash along before thy wheels. DESIRE OF NATIONS

61 A DIRGE Composed on the Death of a Young Lady in Boston Watts Horae Lyricae Air Mt ,) > j i .j i r 1- J I,

Hark! she bids all her friends a - dieu. Some an - g el____ calls____ her _

Hark! she bids all her friends a - dieu. Some an - gel calls____ her m Hark! she bids all her friends a - dieu. Some an - gel calls her

0

to _____ the____ spheres, Our eyes the ra - diant____ saint pur - sue Through liq - uid tel - e - ,1 T J 1.1 ,1 a

to the spheres, Our eyes the diant. saint pur sue Through liq - uid tel - e - --G>-- —P-----&— £ to the spheres, Our eyes the ra - diant saint pur - sue Through liq - uid tel - e -

EH I i J J iJ

scopes of tears. And is the love-ly, love - ly shad-ow $ J i J scopes of tears. And is the love - ly, love - ly shad -ow fled? And £

scopes of tears. And is the love-ly,

-ri­ m fled? . The bloom - ing won-der of her years So soon en-shrin’d a - $ J J |* Ittf'- p-l f J J ttp is the love-ly , lo v e-ly shad-ow fled? The bloom - ing won - der of her years So soon en-shrin'd a - m r r-if r r r i...r r ir »J love - ly shad - ow fled? . The bloom - ing won - der of her years So soon en -shrin'd a -

62 £

mong the dead, So soon en-shrin’d a mong the dead, She just - ly claims our pi - ous tears. ■J J- i i J -J J^fi J J-J J-d J J . i.l J

mong the dead,_____ So soon en-shrin’d a mong the dead, She just - ly claims our pi - ous tears.

mong the dead,_____ So soon en-shrin’d a mong the dead, She just - ly claims our pi - ous tears.

[37] Slow Vivace £

Fare - well, bright soul, a short fare - well, ‘Till we shall meet, ‘till r\ .1 > I I.l .1 lit

Fare - well bright soul, Fare - well, bright soul, a short fare - well, ‘Till we shall meet, ‘till & & ----P —©— o---

Fare - well bright soul, Fare - well, bright soul, a short fare - well, ‘Till we shall meet, ‘till

$ we shall meet a - gain a bove, In the sweet groves. where pleas - ures j . j i j j i j = j- 4 j — j

we shall meet a - gain a - bove, In the sweet groves. where pleas - ures r*r r r i, j

we shall meet a - gain a - bove, In the sweet groves. where pleas - ures

[33] fC. £ £

dwell, And trees of life bear fruits of love, And trees of life, And trees of life bear fruits of love. £ J ■ J J i J

dwell, And trees of life bear fruits of love, And trees of life, And trees of life bear fruits of love. J Ir , r J £

dwell, And trees of life bear fruits of love, And trees of life, And trees of life bear fruits of love.

63 DISSOLUTION

C. M. Moderato $ i Death will dis - solve the ten - d’rest. tie, That m m Death will. dis - solve. the ten - d’rest. tie, That

Death will. dis - solve the ten - d’rest tie, That

0

ture forms be low; Our dear - est friends are t ture forms be low; Our dear - est friends are

ture forms be low; Our dear - est friends are

G9 $ m call’d to die, And we are left in woe,. Our $ L J r_ c j r m call’d to____ die, And___ we are left in woe, Our J - r if *l £

call’d to die, And we are left in woe,. Our

03 p m

dear - est_____ friends are call’d to_ die, And____ we are left in woe. Cj dear - est_____ friends are call’d to_ die, And____ we are left in woe. m

dear - est friends are call’d to die, And we are left in woe.

64 2. But should the summons be transferr’d 3. O saviour, take my flinty heart, From those I love to me, And steep it in thy blood; Think, O my soul, art thou prepar’d Then, sanctified in ev’ry part, Th’offended judge to see? I shall ascend to God.

DISSOLUTION

DIX-HILLS

William Cowper C. M. A . 5= «; Too man - y, Lord, a - buse thy grace, In this li - cen - tious

Too man - y, Lord, a - buse thy grace, In this li - cen - tious

Too man - y, Lord, a - buse thy grace, In this li - cen - tious —fi>------= i

Too man - y, Lord, buse thy grace, In this li - cen - tious

HI

65 2. Thy book displays a gracious light 5. Ah Lord, we know thy chosen few That can the blind restore; Are fed with heav’nly fare; But these are dazzled by the sight, But these the wretched husks they chew And blinded still the more. Proclaim them what they are.

3. Year, The pardon such presume upon, 6. The liberty our hearts implore They do not beg, but steal; Is not to live in sin; And when they plead it at thy throne, But still to wait at wisdom’s door, Oh, where’s the spirit’s seal? Till mercy calls us in.

4. Was it for this, ye lawless tribe, DIX HILLS The dear redeemer bled? Is this the grace the saints imbibe From Christ the living head?

ERIE

Barlow Psalm 88 P. M. [8.8.8.8.8.8] Air M oderato J J ,r P i-Lr r r H t_r ^ r As, lost in lone - ly grief,___ I tread The mourn - ful man - sions of the dead, Or r r -r v if' iJ~? e-LL-T im—r £ As, lost in lone - ly grief, I tread The mourn - fill man - sions of the dead, Or

As, lost in lone - ly grief, I tread The mourn - ful man - sions of the dead, Or

to some throng’d __ as - sem - bly go; Through all a - like I rove a - lone, While £ to some throng’d as - sem - bly go; Through all a - like I rove a - lone, While £

to some throng’d as - sem - bly go; Through all a - like I rove a - lone, While

66 {TCJ A r r =i | r ■ . p—P. $-i- r -f—Mr E______a ______Lf!-----f!— 1r r r here for - got, and there un - known, The change re - news___ my____ pierc - ing____ woe. h£-, J j — £ ------m------■------0----- m----- m----- L— r ■ L f—E^ J here for - got, and there un - known, The change re - news___ my____ pierc - ing woe.

------P ------—m ------■ ------/v------f r!------r1------r =i p p F=]if-.-r-—i here for - got, and there un - known, The change re - news my pierc - ing woe.

2. And why will God neglect my call? 3. Yet thro’ each melancholy day, Or who shall profit by my fall, I’ve pray’d to thee, and still will pray, When life departs and love expires? Imploring still thy kind return. Can dust and darkness praise the Lord? But oh! my friends, my comforts, fled, Or wake, or brighten at his word, And all my kindred of the dead And tune the harp with heavenly quires. Recall my wandering thoughts to mourn.

ERIE

EXULTATION

Samuel Stennett C. M.

67 arch es rung, With shouts of loud ap - plause; "He dy’d," the friend - ly

2. i an - gels sung, Nor cease their rapt' - rous joys, joys. : \r r T s m —p—

an - gels sung, Nor cease______their rapt' - rous joys, joys.

¥ r * !n r an - gels sung, Nor cease______their rapt’ - rous joys, joys.

FAIRLEE

Watts Psalm 72ii L. M.

Je - sus_ shall reign where - e’er the sun Does his sue - $ £ shall reign where - e’er the sun Does his sue - ,] J J

Je - sus. shall reign where - e’e r. the sun Does his sue - £

Je - sus shall reign where - e’er the sun Does his sue -

68 0

sive jour neys run: His king - dom stretch from

—JD— jour neys run: His king - dom stretch from __p ___ —0-- m sive jour neys run: His king - dom stretch from ______a __

sive jour neys His king - dom stretch from

G3

shore____ to______shore, Till moons_____ shall_____ wax and wane no more.

2. Behold! the islands with their kings, 4. For him shall endless pray’r be made, And Europe her best tribute brings; And princes throng to crown his head; From North to South the princes meet His name, like sweet perfume, shall rise To pay their homage at his feet. With ev’ry morning sacrifice.

3. There Persia, glorious to behold, 5. People and realms of ev’ry tongue There India shines in Eastern gold; Dwell on his love with sweetest song; And barb’rous nations at his word And infant-voices shall proclaim Submit, and bow, and own their Lord. Their early blessings on his name.

69 Year, Blessings abound where’er he reigns, 8. Let ev’ry creature rise and bring The pris’ner leaps to lose his chains; Peculiar honours to our king: The weary find eternal rest, Angels descend with songs again And all the sons of want are blest. And earth repeat the loud Amen.

Year, Where he displays his healing pow’r, FAIRLEE Death and the curse are known no more; In him the tribes of Adam boast More blessings than their father lost.

FUNERAL ANTHEM Man that is Bom o f a Woman Job 14 and Timothy Dwight Mode rat o Piano Repeat Forte

Man that is born of a worn - an is of few days and full_____ of trou - ble. $ Man that is bom of a worn - an is of few days and full of trou - ble. $ J i.i ,i P----m----r- 9----- *> b r m Fp=#j T 1 s ' Man that is born of a worn - an is of few days and full of trou - ble.

70 He com -eth forth like a flow - er, and is cut. down; he fle - eth al - so as a shad -ow,

r s $ 9 ir r r r if ^(t He com - eth forth like a flow - er, and is cut down; he fle - eth al - so as a shad - ow

03 ¥ and con - tin - u - eth not. $

and con - tin - u - eth not. As the wa - ters fail from the sea, And the flood____ de - cay - eth and

Forte

So man li - eth down and ris - eth not: ‘Till the heav’n s___ be no more, $ So man li - eth down and ris - eth not: ‘Till the heav’n s___ be no more, they shall

So man li - eth down and ris - eth not: ‘Till the heav’n s___ be no more, £ £

dri - eth up, So man li - eth down and ris - eth not: ‘Till the heav’ns — be no more, they shall

71 ¥ £ I They shall not a - wake nor be rais - ed out of their sleep. m

not a - wake, they shall not a - wake nor be rais - ed out of their sleep. m 8 They shall not a - wake. nor be rais - ed out of their sleep. — m not a - wake, . nor be rais - ed out of their sleep.

Moderato Piano Repeat Forte

But the soul in gay - est bloom, Dis - dains the bond - age of the tomb; As - cends__ a $ m But the soul in gay - est bloom, Dis - dains the bond - age of the tomb; As - cends a ■ - ir Lnr J>iJ cji J- J)ir r im p ?i J- But the___ soul in gay - est___ bloom, Dis - dains the bond - age of the tomb; As - cends__ J. j > iJ J m But the soul in gay - est bloom, Dis - dains the bond - age of the tomb; As - cends a -

r s [_r i r r ir m bove the clouds__ o f____ ev’n, And, rap - tur'd, hails, And, rap - tur’d, hails her___ na - tive heav’n ¥ bove the clouds of ev’n, And, rap - tur’d, hails, And, rap - tur’d, hails her na - tive heav’n m bove the clouds — o f------ev’n, And, rap - tur’d, hails, And, rap - tur’d, hails her___ na - tive heav’n. Mr j i j Tb fc=t

bove the clouds of ev’n, And, rap - tur'd, hails, And, rap - tur'd, hails her na - tive heav’n.

72 FUNERAL HYMN

Watts Hymns H No.3 C. M. Moderato f J r Ir J r r i r Why do we mourn. de - part ing friends? . Or shake. m j. j Z7^ Why do we mourn de - part ing friends? Or shake. at_

8 Why do we mourn. de - part ing friends?

Why do we mourn. de - part ing friends? . Or shake. tV f J J J death’s ______a - larms? . ‘Tis but the voice that Je sus__ sends, ‘Tis but the voice that $ death’s a - larms? . ‘Tis but the voice that $ £ death’s . a - larms?. ‘Tis but the voice that i... Q_____ r ir ir r r r irr death’s a - larms? . ‘Tis but the voice that Je sus__ sends, ‘Tis but the voice that

on 2.

Je - sus sends, ‘Tis but the voice that Je - sus sends, To call____ them to his arms, arms. $ Je - sus sends, ‘Tjs but the voice that Je - sus sends, To call______them to his arms, arms. $ feat r r Je - sus sends, ‘Tis but the voice that Je - sus sends, To call______them _ to his arms, n.__ m ¥ Je - sus sends, ‘Tis but the voice that Je - sus sends, To call______them to his arms, arms.

73 2. Are we not tending upward too 5. Thence he arose, ascended high, As fast as time can move? And shew’d our feet the way: Nor would we wish the hours more slow Up to the Lord our flesh shall fly, To keep us from our love. At the great rising day.

3. Why should we tremble to convey 6. Then let the last loud trumpet sound, Their bodies to the tomb? And bid our kindred rise; There the dear flesh of Jesus lay, Awake, ye nations under ground, And left a long perfume. Ye saints, ascend the skies.

4. The graves of all the saints be bless’d, FUNERAL HYMN And soften’d every bed: Where should the dying members rest, But with the dying head?

HOLLIS

Watts Hymns II No.61 C. M. 1 i.) J ii J

My soul come med - i - late the day______And think how near it stands. $ "TT My soul come med - i - tate the day______And think how near it___ stands. m p My soul come med - i - tate the day______And think how near it stands. p My soul come med - i - tate the day______And think how near it stands. When

74 0 terv— - = P-J—Jt ___ M- J mJ 1 '1 , - h--l..1...1 -1 m ,J r i mten thou must quit this house of clay Aind flly t0 un -known lands, When - 1 I | J — J | * L = rj_m___ ■■ j-i-h__ ■__ | a , a .z __d ____ **.....Ii------^ 1 When thou must quit this hoiise cif clay, When

... i i i - 1 i I - I r 1 I ± V ~ - " H ~ i .....n I 1 n ------H ...... < • 4 8 Whten thou must quit this house: nf rlay And fly t

tm

j j i .. -.I

thou must quit this house of clay______And fly. to un - known lands, lands. -fl-.— i— ------^---- -flk V—J ------1 O* 7 — ...... o 9 u thou must quit this house of clay______And fly _ to un - known lands, lands.

thou must quit this house of clay______And fly. to un - known lands, lands. £

thou must quit this house of clay______And fly. to un - known lands, lands.

2. And you, mine eyes, look down and view Year, How we should scorn these clothes of The hollow gaping tomb: flesh, This gloomy prison waits for you, These fetters, and this load, Whene’er the summons come. And long for ev’ning to undress, That we may rest with God. 3. Oh! could we die with those who die, And place us in their stead; Year, We should almost forsake our clay Then would our spirits learn to fly, Before the summons come, And converse with the dead. And pray and with our souls away To their eternal home. 4. Then should we see the saints above, In their own glorious forms, HOLLIS And wonder why our souls should love To dwell with mortal worms.

75 HOW SWEETLY

Anne Steele P. M. [8.8.8.8J Air ■;Md - r ^

How sweet - ly, a - long____ the gay mead The dai - sies and cow slips are seen! The

p 8 How sweet ly, a - long the gay mead The dai sies and cow slips are seen! The J J I f . J l i fe ¥ How sweet - ly, a - long___ the gay mead The dai - sies and cow - slips are seen! The

0 m

flocks____ as they care - less - ly feed Re - jo ice____ in the beau - ti - ful green! ¥ flocks____ as they care - less - ly feed Re - joice____ in the beau - ti - ful green! J' ■■■■■ J J I f . J I J. J I J

flocks as they care - less - ly feed Re - joice_____ in the beau - ti - ful green!

2. The vines that encircle the bowers, 4. The Lord who such wonders can raise The herbage that springs from the sod, And still can destroy with a nod, Trees, plants, cooling fruits and sweet My lips shall incessantly praise flowers, My soul shall rejoice in my God. All rise to the praise of my God. HOW SWEETLY 3. Shall man the great master of all The only insensible prove? Forbid it, fair gratitude’s call, Forbid it, devotion and love.

76 INCENSE

Watts Hymns II No.l L. M. A li £

Na - ture with all------her pow’rs__ shall sing God the ere - a - tor, and____ the king; Nor

8 Na-ture with all____ her pow’rs__ shall sing God the ere - a - tor, and____ the king; Nor

Na - ture with all her pow’rs shall sing God the ere tor, and____ the king; Nor

0 Ifj* r r J lr J r lr r J l.J J

air,____ nor earth,___ nor skies,__ nor seas, De - ny____ the trib ute of____ their praise.

He

air,____ nor earth,___ nor skies,__ nor seas, De - ny____ the trib ute of their praise. ii

air,____ nor earth,___ nor skies, nor seas, De - ny the trib ute of their praise.

------m m tfHhy * > m=\ 9 ' mJ _:,_0 ■ -P=\ ir r.i h ------fc= Be - gin to make his glor - ies known, Ye ser - aphs that sit near his throne; $ £ Be - gin to make his glor - ies known, Ye ser - aphs that sit near his throne;

¥ Be - gin to make his glor - ies known, Ye ser - aphs that sit near his throne;

a J h ! m m— f .. » r IT IT 1 — mn------.— J n— ■ — F=h=F ) L_p— [I— f - r " p 1 MM M = J Tune your harps high, and spread___ the____ sound To the; ere - a - tion’s ut - most bound, Tune your harps

j » j k j q • ----- m J ~ 1 f .s = m - h i r n ff--| -m-----d---- di—dL-LT— pLJ ...... / f g d d cir Tune your harps high, and spread___ the____ sound To the: ere - a - tion’s ut - most bound, Tune your harps —f ------f —r— * H " > « =F= 4* = ^ -# - S _h ~ . ' ~ r — * — = — Uf ^ — * J f f \ Tune your harps high, and spread___ the____ sound To the ere - a - tion’s ut - most bound, Tune your harps

77 $ high, and spread. the. sound To the ere tion’s . ut - most bound. -M__ £ m m high, and spread___ the. sound To the ere tion’s . ut - most bound. §£

high, and spread the sound To the ere tion’s ut - most bound.

Year, All mortal things of meaner frame, 4. Pillars of lasting brass proclaim Exert your force, and own his name; The triumphs of th’eternal name; Whilst with our souls, and with our voice, While trembling nations read from far We sing his honours, and our joys. The honours of the God of war. To him be sacred all we have, Thus let our flaming zeal employ From the young cradle to the grave: Our loftiest thoughts, and loudest songs; Our lips shall his loud wonders tell, Let there be sung with warmest joy And ev’ry word a miracle. Hosanna from ten thousand tongues.

Year, These western shores, our native land, INCENSE Lie safe in the almighty’s hand; Our foes of vict’ry dreamed in vain, And wear the captivating chain. Raise monumental praises high To him who thunders through the sky, And with an awful nod or frown, Shakes an aspiring tyrant down.

78 INVOCATION TO CHARITY A Masonick Ode

A jr Symphony ...... , p P f i > . j-g = d r- mm m m m m f 1 1 Ik—m------k------fc---- 1 y * r J J J 1 " 1 r i i i i i r r n- 1 V ...... 1 Come, char - i - ty, # n i r LTC j Come, char - i - ty, m a Come, __ char - i - ty,

Symphony £ e - F - r - 1* ■< ? *r r •I’lc^L rri Come char - i - ty with______good - ness__ crown’d, _ en - cir-cled in thy heav’n - ly robe, J i J i Come char - i - ty with good - ness crown’d, en - cir-cled in thy heav’n - ly robe, m m Come char - i - ty with good - ness crown’d, en - cir-cled in thy heav’n - ly robe,

ED Symphony

Dif - fuse thy______bless-ings all a - round, to ev’ - ry cor-ner of the globe. $ Dif - fuse thy bless-ings all a - round, to ev’ - ry cor-ner of the globe.

Dif - fuse thy bless-ings all a - round, to ev’ - ry cor-ner of the globe.

79 Q3 [I11 J Ar ir m n r Mf r r pow’r ___ to bless, See where she comes with pow’r to bless, with o - pen hand and ten - der____ heart,___ n » » n

pow’r to bless, See where she comes with pow’r to bless, with o - pen hand and ten - der heart, * e £

pow’r to bless, See where she comes with pow’r to bless, with o - pen hand and ten - der heart,

Symphony Piano ____ •_ -hiT Ji r r l-l

See where she comes, See where she comes with pow’r to bless, with o - pen hand. See where she m See where she__comes, See where she comes with pow’r to bless, with o - pen hand. See where she p t J n r If P P F g (T pi pp See where she comes, See where she comes with pow’r to bless, with o - pen hand. See where she

EZI Moderato I® £ comes with_pow’r to bless, With o - pen hand and ten - der heart, Which wound-ed is at man’s ___ dis-tress and

m m comes with pow’r to bless, With o - pen hand and ten - der heart, Which wound-ed is at man’s dis-tress and fe

comes with pow’r to bless, With o - pen hand and ten - der heart, Which wound-ed is at man’s dis-tress and

m bleeds at ev’ - ry hu - man----- smart, Which wound - ed is at man's dis - tress, And bleeds at ev’ - ry

* 1 i I I CJir [j- J* P P P P fr bleeds at ev’ - ry hu - man smart, Which wound - ed is at man’s _____ dis - tress, And bleeds at ev’ - ry £ g^p *-pF i p p r p p pM ; bleeds at ev’ - ry hu - man smart, Which wound - ed is at man’s dis - tress, And bleeds at ev’ - ry

80 Symphony 151 Piano £ i m m *r r MclSj Come, char - i - ty with. good - ness__crown’d, En - cir-cled in thy heav’n - ly robe, m Come, char - i - ty with. good - ness crown’d, En - cir-cled in thy heav’n - ly robe, - £ Come, char - i - ty with good - ness crown’d, En - cir-cled in thy heav’n - ly robe,

E3 ■ * Dif­ fuse thy______bless - ings allm a - round, to ev’ - ry cor - ner Dif fuse thy bless - ings all a - round, to ev’ - ry cor - ner

Dif fuse thy bless - ings all a - round, to ev’ - ry cor - ner

Symphony ED Forte

81 JEHOVAH SPEAKS

Watts Hymns I No.84 L. M. Andante Air Mezzo Piano Cresc. Forte Piano $ n r r Je - hov - ah speaks! Je - hov - ah speaks! Je - hov - ah speaks, let Is - rael. $ i Je - hov - ah speaks, i

Je - hov - ah speaks! Je - hov - ah speaks, r v b if r i t v i ir r

Je - hov - ah speaks! Je - hov - ah speaks! Je - hov - ah speaks, let Is - rael

0 Forte

Piano Forte

¥ m fear, While God's e - ter - nal son pro - claims, While God’s e - ter - nal son pro - $ £ fear, While God’s e - ter - nal son pto - r s ¥ fear, While God’s e - ter - nal son pro ■ r\ 1.r iT y j>

fear, While God’s e - ter - nal son pro - claims, While God’s e - ter - nal son pro -

8 2 Piano H3 Forte

claims, His sov’ - reign__ hon - ours__ and___ his___ names,__ His sov’ - reign__ hon - ours______and his

claims, His sov’ - reign hon - ours and his 3

claims, His sov ’ -reign__ hon - ours______and his

claims, His sov’ - reign_ hon - ours and his names, His sov’ - reign hon - ours and his

Forte -■ — m— r f — m— m— p — - , ^ m « W r— f — it? r f Jhif r irT IP v (f ju st,____ the sav - iour God, and God the just, the sav - i<)ur___ G od ,__ and___ G od___ th e___ l i y § 1 1 ^ Y i 1 the sav - iour God, and God the just, the sav - iour God, and God the I i * h\"■ ------m...... Lf—■ ------k;..... -(LJ m ....1 m m...... f ■ § * 7 J > l ■r r. Lp—T—ir * ? i LI LJ-I 8 the sav - iour God, and God the just, the sav - i(>ur___ G od ,__ and___ G od___ the___

rf vnn if» v 7 MJh ' k 1 just, the sav - iour God, and God the just, the sav - iour God, and God the

8 3 ju st;. There’s none be - side pre - tends to shew, Such * £ just; There’s none be - side pre - tends to shew, Such r\ m ® ju st;. There’s none be - side pre - tends to shew, Such r s j)ir r ir V\rm

just; There’s none be - side pre - tends to shew, Such

[35] Forte fC.$ ju s-tice and sal - va - tion too, There’s none be-side pre - tends to shew, Such jus - tice and sal - va - tion too. t jus - tice and sal - va - tion too, Such jus - tice and sal - va - tion too. m £ ju s-tice and sal - va - tion too, There’s none be-side pre - tends to shew, Such jus - tice and sal - va - tion too. p £ jus - tice and sal - va - tion too, Such jus - tice and sal - va - tion too.

8 4 LODI

Watts Hymns H No.64 L. M. . Air $ Hap - py the church, thou sa - cred place, Thy r ir r m The seat of thy ere - a - tor’s grace;

= ^ = ? =

Hap - py the church, thou sa - cred place, The seat of thy ere - a - or’s grace; Thy

HI

ho - ly courts are his a - bode: $ L^J= Thou earth - ly_____ pal - ace____ of our God. £

ho - ly courts are his bode: Thou earth - ly pal - ace of our God.

$ Thy walls are strength, and at thy gates A guard of heav’n -ly war-riors waits; J j i ,i. J i-S

Thy walls are strength, and at thy gates A guard of heav’n -ly war-riors waits; Nor shall__ thy___deep foun - m

Thy walls are strength, and at thy gates A guard of heav’n -ly war-riors waits; Nor shall__ thy___deep foun-

03 i r i * - = i c^ d- J -

Fix’d on his coun -sels and his love. J ~ \ . F — t— rf—f—r—m— i j J I fJt* c_r ~ =E=I eJ* J ir r r ■ i da - tions__move, Fix’d on his coun-sels and____ his____ love, Fix’d on his coun-sels and his love. i^-rrrr 1*=iif r f r i |J r -r r-f^T -|ir r i-m m .m. r r--^ da - tions__move, Fix’d on his coun-sels and____ his____ love, Fix’d on his coun-sels and his love.

8 5 2. Thy foes in vain designs engage, Against his throne in vain they rage; Like rising waves with angry roar, That dash and die upon the shore. Then let our souls in Zion dwell, Nor fear the wrath of Rome and hell: His arms embrace this happy ground, Like brazen bulwarks built around.

LODI

LORD’S DAY

Watts Psalm 118 S. M. Vivace >Hr J r

This is the glor - ious day That our re - deem - er made; $*11 J I I u I I II J I* J r I I >1 -)■ This is the glor - ious day That our_____ re - deem - er made;

This is the glor - ious day That our re - deem - er made; Let us re -

Mode rat o m Let_____ us re - joice, and sing, and pray; Let all the church be glad. Ho - san - na M r- J—t-r

Let------us re - joice, and sing, and pray; Let all the church be glad. Ho - san - na

joice, and sing, and pray; Let all the church be glad. Ho - san - na

86 03 Piano

£ to_____ the king Of D a-vid ’s roy - al blood;___ Bless him, ye saints: he comes to bring Sal • j =ji J i J. Ji g- r iM'r m to_ the king Of Da - vid’s roy - al blood;___ Bless him, ye saints: he comes to___ bring Sal -

to the king Of Da - vid’s roy - al blood; Bless him, ye saints: he comes to bring Sal -

Forte *-»■ . m u m va-tion from your God, Bless him, ye saints: he comes to bring sal - va tion from your God =$ = F f=

va-tion from your God, Bless him, ye saints: he comes to bring sal - va - tion from your God. r fff |f |> |f r ir m. p

va-tion from your God, Bless him, ye saints: he comes to bring sal - va - tion from your God.

LYNNFIELD

Watts Hymns n No. 122 L. M.

My God, per - mit me not to be, A stran - ger to------my - self and thee,

87 J I J J

A - midst a thou - sand thoughts I rove, For - get - ful of my high - est love. £ =

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A - midst a thou - sand thoughts I rove, For - get - ful of thy high - est love.

Why should my pas - sions mix with earth,______And thus de - base my heav’n - ly birth?.

* w Why should my pas - sions mix with earth, And thus de - base my heav’n - ly birth?. $ m Why should my pas - sions mix with earth, And__ thus de - base my heav’n - ly birth?. H9----- p - ¥ Why should my pas - sions mix with earth, And thus de - base my heav’n - ly birth?.

Slow t.r u ____ Why should I cleave to things be - low, And let my God, my___ sav - iour go? Call

------Why should I cleave to things be - low, And let my God, my sav - iour go?

------Why should I cleave to things__ be - low, And let my God, my___ sav - iour go? ¥ ------Why should I cleave to things__ be - low, And let my God, my sav - iour go? Call

88 me a - way___ from___ flesh and sense, One sov’ - reign__ word can draw______me thence,______I

Piano

j J J - j ...... a * r r , __■ ___ m___ m « ___ r r n . _ f r r r ■ would o - bey th< voice di - vine, And all in - Ier - ic)r joys n sign.

t E - I . - I J 1 g J J J J ...... 1 ¥ j j J-J—i would o - bey th( voice di - vine, And all in - fer - i<>r joys n sign. Be earth with all her

\ i » 7 I j j i_■ g would o - bey the voice di - vine, And all in - fer - ic>r__ joys rt sign. ~p— f r — P r~F— F— F F— I 7 I I 1 M i r r r ■ J i l| * ' r - j would o - bey the voice di - vine, And all in - fer - ior___ joys re - sign. Be earth with all her

Piano - i - j r iJ J J- J’ir r ir r !r r r r ir Let noise and van - i - ty be gone, In sec - ret si - lence of the___mind,___

scenes with - drawn, Let noise and van - i - ty be gone, In sec - ret si - lence of the mind, —

8 9 EH Piano r s Piano Forte £ £

My heav’n, my heav’n, my heav’n, my heav’n and there, my God, I find, find. r\

My heav’n, my heav’n, my heav’n, my heav’n and there, my God, I find, find. r\ i

My heav’n, my heav’n, my heav’n, my heav’n and there, my God, I find, find.

My heav’n, my heav’n, my heav’n, my heav’n and there, my God, I find, find.

MANTUA

Watts Hymns n No.59 C. M. Air j i j . j m A bloom -ing par - a - dise of joy In this wild des - ert springs, And ev’ - ry sense I »» - - " - ' ' I' - M . J , | „ J |J J , J

A bloom -ing par - a - dise of joy In this wild des - ert springs, And ev’ - ry sense I

A bloom -ing par - a - dise of joy In this wild des - ert springs, And ev’ - ry sense I

Piano j- J IJ--J £

strait em-ploy, On sweet ce -le s -tia l things. White lil - ies all a - round ap-pear, And each his glor - y shows; $» J J . . I » . r r I r r ir r J J I J , r r I r r r J I .1. strait em-ploy, On sweet ce - les-tial things. White lil - ies all a - round ap-pear, And each his glor - y shows;

strait em-ploy, On sweet ce - les-tial things. White lil - ies all a - round ap-pear, And each his glor - y shows; The

90 E l Cresc. fC.

The rose of Shar - on bios -soms here, The rose of Shar - on bios - soms here, The

The rose of Shar - on bios - soms here, The rose of Shar - on bios - soms here, The j=P=e=f=

rose of Shar - on bios - soms here, The rose of Shar - on bios - soms here, The rose of Shar - on bios - soms here, The

2. Cheerful I feast on heav’nly fruit, 3. When shall the time, dear Jesus, when And bring the pleasures down, The shining day appear, Pleasures that flow hard by the foot That I shall leave those clouds of sin, Of the eternal throne. And guilt and darkness here? But ah! how soon my joys decay, Up to the fields above the skies, How soon my sins arise, My hasty feet would go, And snatch the heav’nly scene away There everlasting flow’rs arise, From these lamenting eyes! And joys unwith’ring grow.

MANTUA

91 MERCY SEAT

William Cowper L. M. i l£ Je - sus, wher - e’er thy peo pie. There they be - $ Je - sus, wher - e’er thy peo pie meet, There they be -

Je - sus, wher - e’er thy peo pie. meet, There they be -

m

Je - sus, wher - e’er thy peo pie There they be -

HI $ £ hold_____ thy. cy seat; Wher - e’er they seek thee thou____ art.

hold thy cy seat; Wher - e’er they seek thee thou art £ $ [ _ s hold_____ thy _ cy seat; Wher - e’er they seek thee thou____ art £

hold thy _ cy seat; Wher - e’er they seek thee thou____ art

r r ir r w found, And. ev - ry_ place is hal low’d ground. $ found, And. ev’ - ry______place is hal low’d ground. ■J'-: \r J found, And. ev’ - ry______place is hal low’d ground. £ found, And ev’ - ry______place is hal low’d ground.

92 2. For thou, within no walls confin’d, 5. Behold, at thy commanding word, Inhabitest the humble mind; We stretch the curtain and the cord; Such ever bring thee, where they come, Come thou, and fill this wider space, And going, take thee to their home. And bless us with a large increase.

3. Dear shepherd of thy chosen few! 6. Lord, we are few, but thou art near; Thy former mercies here renew; Nor short thine arm, nor deaf thine ear; Here, to our waiting hearts, proclaim Oh rend the heav’ns, come quickly down, The sweetness of thy saving name. And make a thousand hearts thine own!

4. Here may we prove the pow’r of pray’r, MERCY SEAT To strengthen faith, and sweeten care; To teach our faint desires to rise, And bring all heav’n before our eyes.

MESSIAH

Alexander Pope First treble Ff={= » V 1 — m r a , “If---ff---ff----m----T" f ---W m' V * J f - - J c J 1r f J J* t~r t - y - - H r V f * Ye nymphs__ of___ Sol - i - ma be - gin_, __the song, To heav’n - ly themes sub - lim - er strains be - Second treble i * ? j r m r 31 t k 1 —-— J - + * § * j f J * J ' f - H ^ M J J l Ye nymphs__ of___ Sol - i - ma be - gin__ the song, To heav’n - ly themes sub - lim - er strains be - Um M > I >

t* .j' jii rn-'m J) Y h k J J j-j-J- =§—jJ a ' J) m* m I m J ilt J r i long,__ sub - lim - er strains be - long, The moss-y foun-tains and the syl - van___shades,

j>» i i m 1 ■ ^ - i s — s------§ j, 1_ ^ M f l ------J -- . - i J 3------■ ------long, The moss-y foun-tains and the syl - van shades,

: # t t ...... -

93 Slow

i_I r______i . f - g _j£ 7 F " E M - - — r F P------The dreams of Pin-dus and the A -o n -ia n maids, De - light no more, de - light no more.

t * ~ i ■tf—iT ff------1—pIT------ffm _hd * J>\ h _h d ’ d ’ m ‘ ' m’J) ------| J------«m------li H ------H 4 = ^ The dreams of Pin-dus and the A -o n -ia n maids, De - light no more, de - light____no more.

2 3 Grave n *------I 'I , f j > r gq r r r - f I 1 r , J 1 d«.. -abzzJ J r r j i 0 thou m 3 voire. in - spire, w ho to u ch ’d I - saiah’s hal - low - e d ____ li|3S wi th fire. | j j _hii j n J m - m . m . 9 m * m m 4 4 = ^ o thou nr/ voice in - spire, w ho to u ch ’d I - saiah’s hal - low - e d ____ li]ps wi th fire. k

tf Tenor Mezzo Piano Cre$< » B , i, ' i _ h _h j , J i J i f f i . g* «/ g__ FT^LF ..... =. . .h . F^-V-h-hlm w-^ r m*' 4 * ? F ... f - l 8 Wrapt in - to fu - ture times the bard be - gun, A vir-gin shall con- ceive, a vir-gin bear a son, a vir - ff T T— -----= — |j>ff |T (T |T f f t T f [ f ------M g v :? z=? =- f— 4 ■ • f ----- ff- — k .... f M Wrapt in - to fu - ture times the bard be - gun, A vir-gin shall con - ceive, a vir-gin bear a son,______a

9 4 Counter ipjjT-* ------11 J J l

Piatto Ye heav’ns on

i t h\ Lt»T IT ^ p f-jrjF*m * m 4 ' u * __m1 - - * hi K t—r p ^ p LT f ^ ir rf f i1 r y *j r ll J "f ■ -f-I 8 ____ Th’e -ther - eal__spir - it o’er its leaves shall move, And on its top des - cends the mys - tic__ dove. Ye heav’ns on

ff IT g ff iff- CT (T g I j ) . — = — * > r r « i r------"— ----- r V r f\-M—¥■—t f rf^h n ____ Th’e-ther-eal spir - it o’er its leaves shall move,_____And on its top des - cends the mys - tic dove.

[55] £ ■ J) * * -J) "j:—I*—

high the dew-y nec-tar pour. And in soft__ si - lence shed the kind-ly show’r, The sick, the weak, the =* P high the dew-y nec-tar pour, And in soft si - lence shed the kind-ly show’r, The sick, the weak, the £

Treble Air Forte Piano

heal - ing plant shall aid, From storms a shel-ter, and from heat _ a___ shade. All crimes shall cease and an-cient fraud shall j . i i j §§= m heal - ing__plant shall aid, From storms a shel-ter, and from heat _ a___ shade. All crimes shall cease and an-cient fraud shall

S e e s m All crimes shall cease and an-cient fraud shall

Forte P iano See £ > J ) J> I J i g g $ £ fail, Re - turn ing jus - tice lift a - loft her__scale; Peace o’er the world her ol-ive wand ex-- tend

$ £ fail, Re - turn - ing jus - tice lift a - loft her scale; Peace o’er the world her ol-ive wand ex - tend - ~ - rs p n f f If j fail, Re-turn - ing jus - tice lift a - loft her scale; Peace o’er the world her ol - ive wand ex - tend

95 M oderato Piano repeat loud *-■—r f l-P--rr..ff .g-jn # = « ‘•r Lf < T T P l ■■ f J r -1r y ' O spring — to__ light, au - spic - ious babe r\ be bom. See na-ture hastes her earl-iest wreaths to__ bring, With all the |.-r :p -g | j ^ U \j j v ?y\ 8 0 spring to light, au - spic - ious babe be bom.

[■ff ff ,— ■— : " ff' ff » ../ / . . ..1...• y f * 7 ' M-J O spring to light, au - spic - ious babe be born. See na-ture hastes her earl-iest wreaths to bring, With all the

-ft-3^-J---J- —l—If i—i IT— [!t—l— It ,T'a.---- 1.— :

in - cense of the breath - ing spring. See loft - y I^h - a - non his head arl-van™; See nod-ding i * . i . i .= y i i = rKm f. .f . f .M i gp -f-J. i iri r P'K frif rf t^f .- Iff------Ip -L—M-l m ------—— — - in - cense of the breath - ing spring. See loft - y Leb - a - non his head ad -vance;______See nod-ding

m

96 J ---It— M oderato * Fw J'J F=¥=.^Sr EaJW m J 1 J=i= Car - mel’s flow’r - y top- per- fumes_the___ skies. t IT ff I =f --K---J-J) J) ff ff-=-#-- ■y-± * fg „ F -¥ f 9-- i t _ f... ? Tf f=* C ar-m el’s flow’r - y top per - fumes the skies. Hark! a glad voice____ the lone -ly des - ert cheers, _ t 4># p p |F j t-T~p—•-» « JJ'-T T k r y M J F J J Ik ^ =1 Car - mel’s flow’r - y top per - fumes the skies. Hark! a glad voice_____ the lone-ly des -ert cheers,-

Forte Piano Cresc. Forte * I? I [T p P n-i). J)| J li 1.1 _h l=jS S 3 pre - pare the way, a God, a God ap - pears, . The rocks__ pro - claim th’ap -

$ m S 3 pre - pare the way, A God, a God, the vo - cal hills re - ply, The rocks__ pro - claim th’ap -

pre - pare the way, a God, a God ap - pears, The rocks pro - claim th’ap -

Q33]

proach - ing de - i - ty. f**=fer r Fir proach - ing de - i - ty

» ? c f v . 11 £ % proach-ing__ de - i - ty. Lo earth re - ceives him from the bend -ing skies, Sink down ye moun - tains

P51

¥ g-nr r ir and ye val-leys rise,. With heads de - clin’d, ye ce - dars hom -mage pay, Be smooth ye rocks, ye

97 F orte frai i i i If J h - =q - — 1— i

The sav - iour coi nes, i i t i f f IT "1

f ...... The sav - iour comes, I i i , .....- f i ____ t r it s - ^ ■ r p - y - , . , |f ^ P r r ir-|? r=j

rap - id floods give way, Be smooth ye rocks, ye rap - id____floods give way. The sav - iour comes,

rrcsi Dim. P iano Forte I |ff ff ft p ^ ( p I f f r ~ j - — h f f ------ff-ff— IT— -h - + y ------y------— |=—p — h — 1, _n ■ F 1 t — j — - t- p * — p— b — y y ' r r ..... - ~ r f j L - ^ L l(T ^ J ■ J»—^ —1

by an - cient bards fore - told, Hear him ye deaf, hear him ye deaf, and all ye___ blind be-

, r r K . i ^ J - I- if ■ 'j=| K 1 _h _K h _N v" 11— r r r ^ ' ^ — | d ‘— d ’ W’ dA, if— r- ■■ r -r— 1 8 by an - cient__bards fore - told, Hear him ye deaf, hear him ye deaf, and all ye blind be - m— U r t = I f f IT IT IT l l 9 iff f p. g -v — \ - u m— f f — ? — * — /* — ------:i ^ r z f c :------j - — (— r y— c— t ------y- 1 T f f ' V -- by an - cient bards fore - told, Hear him ye deaf, hear___him ye deaf, and all ye____ blind b e -

$ ritJ'i r pi P FP t \f Lrf p^ In ad - a - man -tine chains shall death be bound, And hell’s grim ty - rant feel th’e - ter - nal wound. No 1 (* |P P |T [T I ItJ- flftJ1 £

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98 [TO]

f j * i i Jip JfF i'r~(T ^ = i more shall na-tion a-gainst na - tion rise, Nor ar - dent war - riors__ meet with hate - fill eyes. P ¥ more shall na-tion a-gainst na - tion rise, Nor ar - dent war - riors__ meet__ with hate - fill eyes. M * 9 91 r 9 |T' 9 7 J \' V £ more shall na-tion a-gainst na - tion rise, Nor ar - dent war - riors meet with hate - ful eyes.

Rise crown’d with light, im - pe - rial Sa-lem rise, Ex - alt thy tow’r - y head and lift thy eyes.

m Forte W J m h -H See! heav’n its spark - ling por-tals wide__ dis - play, And break up - on thee in a flood of day. $ See! heav’n its spark - ling por-tals wide dis play, And break up - on thee in a flood of day. 3 ME 9

See! heav’n its spark - ling por-tals wide dis - play, And break up - on thee in a flood of day.

QE3

No more the ris - ing___ sun shall gild___ the___ morn, *f=S= P Ji i h Ji »= J> No more the ris - ing___ sun shall gild the morn, Nor ev’ - ning Cyn-thia ir r ir 9 iu* ej* m No more the ris - ing sun shall gild____ the____morn, Nor ev’ - ning Cyn-thia

99 it M MP r ^ ii; m v j d i & But lost, dis - solv’d___ in thy su-pe-rior rays,__ One tide of____ glor - y, Is P I £—ni11 |»- (tJ11 J1 J1 p f I r

fill her sil-v er horn:__ But lost, dis - solv’d in thy su -p e -rio r rays, One tide of glor - y, £

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m M i

one un - cloud-ed blaze O’er - flow thy_____ courts; the light__ him - self___shall___ shine Re - veal’d; and

MM one un - cloud-ed blaze O’er - flow____ thy_____the courts;. light him - self shall shine Re - veal’d; and

MM & one un - cloud -ed blaze O’er - flow thy courts; the light him - self shall shine Re - veal’d; and

Slow

i flMS God’s e - ter - nal day__ b e___ thine. The seas______shall waste, the skies in smoke__ de - 7 7 7 7 God’s e - ter - nal day be thine. The seas______shall waste, the skies in smoke de -

t = m £ m I God’s e - ter - nal day be thine. The seas shall waste,___ the skies in smoke de -

$ £ cay; Rocks fall to dust, and moun - tains____ melt a - way. But fix’d thy word;___ t f r cay; Rocks fall to dust, and moun - tains melt a - way. But fix’d thy word;___ p P ^ = £ | cay; Rocks fall to dust, and moun - tains melt a - way. But fix’d thy word;___

100 ||> f t * — . ■_N r m*h m*h m_S* r t -g— jfT—r— |T ]f Ff==lL .-.j T 7 r - f 1 P-LT- ____ thy sav - ing pow’r re - mains, Thy realm for - <£v - er____ lasts; thy own mes - si - ah reigns.

l * - r » n i r l F = f= l —P----- \ f r 7 f -i ^ f 1 J LT-ILX— (i—J ____ thy sav - ing pow’r re - mains, Thy realm for -

MIDDLESEX

Watts Psalm 93i P. M. [10.10.10.10.11.11] * J r I r J The Lord of glor - y reigns: he reigns______on high; His robes of state___ are ¥m$ m m The Lord of glor - y___ reigns: he reigns______on___ high; His robes of state are

The Lord of glor - y reigns: he reigns______on high; His robes of state are

£ strength and maj - es - ty: This wide ere - a - tion rose at his com - mand, Built by his

3=3 r ip- J P strength and maj - es - ty: This wide ere - a - tion rose at his com - mand, Built by his

strength and maj - es - ty: This wide ere - a - tion rose at his com - mand, Built by his

101 03 ....J - U - J q

word, and ‘stab - lish’d by his hand: Long stood his throne ere he be - gan ere -

word, and ‘stab - lish’d by his hand: Long stood his throne ere he be - gan ere - r.m *

word, and ‘stab - lish’d by his hand: Long stood his throne ere he be - gan ere -

HD £

a - tion, And his own God - head is the firm______foun - da $ a - tion, And his own God - head is the firm______foun - da « ------

a - tion, And his own God - head is the firm______foun - da tion.

2. God is th’etemal King: thy foes in vain Raise their rebellion to confound thy reign: In vain the storms, in vain the floods arise, And roar, and toss their waves against the skies; Foaming at heav’n they rage with wild commotion, But heav’n’s high arches scorn the swelling ocean.

3. Ye tempests rage no more; ye floods be still, And the mad world submissive to his will: Built on his truth, his church must ever stand; Firm are his promises, and strong his hand: See his own sons, when they appear before him, Bow at his foot-stool, and with fear adore him.

MIDDLESEX

102 MORNING

Watts Hymns H No.6 C. M.

* m LT ICJ [J Once more, my___ soul, the ris - ing day Sa - lutes___ thy___ wak - ing eyes; Once

$ —C7— —a — Once more, my soul, the ris - ing day Sa - lutes thy wak - ing eyes; Once

j i j n \r n $ & Once more, my___ soul, the____ ris - ing___ day Sa - lutes__ thy___ wak - ing eyes; Once

Once more, my soul, the ris - ing day Sa - lutes thy____wak - ing eyes; Once

HI

£ more, my__ voice, thy trib - ute pay To him who rolls the skies, Once m ore,____ my_____ voice, thy $ more, my voice, thy trib - ute pay To him who rolls the skies, Once more, my voice, thy r\

more, my__ voice, thy___ trib - ute__ pay To him who rolls the skies, Once m ore,____ my_____ voice, thy £

more, my voice, thy trib - ute pay To him who rolls the skies, Once more, my voice thy

03 2. p trib - ute______pay T o . him who rolls the skies, him who rolls the skies.

trib - ute pay To him who rolls the skies, him who rolls the skies.

7 r M r ¥ trib - ute. pay T o. him who rolls the skies, him who rolls the skies.

m i m trib - ute pay To him who rolls the skies, him who rolls the skies.

103 2. Night unto night his name repeats, 5. A thousand wretched souls are fled The day renews the sound, Since the last setting sun, Wide as the heav’n on which he sits And yet thou length’nest out my thread, To turn the seasons round. And yet my moments run.

3. ’Tis he supports my mortal frame, 6. Dear God, let all my hours be thine, My tongue shall speak his praise; Whilst I enjoy the light; My sins would rouse his wrath to flame, Then shall my sun in smiles decline, And yet his wrath delays. And bring a pleasant night.

4. On a poor worm thy pow’r might tread, MORNING And I could ne’er withstand: Thy justice might have crush’d me dead, But mercy held thine hand.

MOUNT CARMEL

Watts Psalm 50ii P. M. [10.10.10.10.11.11] ,1 Ir r IJ m m "I am the sav-iour, I th’al - might - y God, I am the judge: ye heav'ns pro-claim a-

TJ- ---- 9 — I am the judge: ye heav’ns pro-claim a"I am I the am sav-iour, the judge: I th’al ye - might heav’ns - y pro-claim God, a"I J. J-lr J J J TT God,"I am the sav-iour, I th’al - might - yGod,"I I am the judge: ye heav’ns pro-claim a - r ir' r- ip i JL-r l- J J J -J. "I am the sav-iour, I th’al - might - y God, I am the judge: ye heav’ns pro-claim a -

104 11 h r i i— i 1 * J i T t - ...... r = \ " r J I 1 ^ ...... broad My just e - teir - mnl se>n - tence, and de - clare Those aw - fill

* cJ # j - , 9 ■ 9

broad My just e - te\r - nja] sem - tence, and de - clare Those aw - ful r~—.------m------w u j * r r r ...... j J r n J P | » « m __ p-—j ____ u n____0 i \ § * ^ ...... J 1 = M d H J - T 1 ^ broad My just e - teir - n inl sein - tence, and de - clare Those___ aw - fill ------m------TH ------F ------T ------I - u h . i f * * L J L broad My just e - ter - nal_____ sen - tence, and de - clare Those aw - ful

03

truths that sin - ners dread to hear." When God ap - pears, all na - ture shall $ truths that sin - ners dread to hear." When God ap - pears, all na - ture shall a - £ J J ip J J U“ w truths that___ sin - ners dread__ to____ hear.' When God ap - pears, all na - ture shall___ a

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E3 IM £ m n i j

dore him; While sin - ners trem - ble, saints. re - jo ice. be - fore him.

— er t dore him; While sin - ners trem - ble, saints re - joice _ be fore him ■ j W — er dore him; While sin - ners trem - ble, saints. re - joice _ be fore him

dore him; While sin - ners trem - ble, saints re - joice. be - fore him.

105 2. "Stand forth, thou bold blasphemer, and profane, Now feel my wrath, nor call my threat’nings vain; Thou hypocrite, once drest in saints attire, I doom thee, painted hypocrite, to fire." Judgment proceeds; hell trembles; heav’n rejoices; Lift up your heads, ye saints, with chearful voices:

3. " Not for the want of goats or bullocks slain Do I condemn thee; bulls and goats are vain Without the flames of love: in vain the store Of brutal o ff rings that were mine before.” Earth is the Lord’s; all nature shall adore him; While sinners tremble, saints rejoice before him.

4. "If I were hungry, would I ask thee food? When did I thirst, or drink thy bullock’s blood? Mine are the tamer beasts and savage breed, Flocks, herds, and fields, and forests where they feed." All is the Lord’s; he rules the wide creation: Gives sinners vengeance, and the saints salvation.

5. "Can I be flatter’d with thy cringing bows, Thy solemn chatt’ rings and fantastic vows? Are my eyes charm’d thy vestments to behold, Glaring in gems, and gay in woven gold?" God is the judge of hearts, no fair disguises Can screen the guilty when his vengeance rises.

6. "Unthinking wretch! how couldst thou hope to please A God, a spirit, with such toys as these? While with my grace & statutes on thy tongue Thou lov’st deceit, & dost thy brother wrong." Judgment proceeds; hell trembles; heaven rejoices; Lift up your heads, ye saints, with cheerful voices.

7. "In vain to pious forms thy zeal pretends; Thieves & adult’rers are thy chosen friends: While the false flatt’rer at my altar waits, His harden’d soul divine instruction hates." God is the judge of hearts, no fair disguises, Can screen the guilty when his vengeance rises.

8. "Silent I waited with long-suff ring love; But didst thou hope that I should ne’er reprove? And cherish such an impious thought within, That the all-holy would indulge thy sin?" See, God appears; all nations join t’adore him; Judgment proceeds, and sinners fall before him.

106 9. "Behold my terrors now; my thunders roll, And thy own crimes affright thy guilty soul: Now like a lion shall my vengeance tear Thy bleeding heart, and no deliv’rer near." Judgment concludes; hell trembles; heav’n rejoices; Lift up your heads, ye saints, with cheerful voices.

10. Sinners, awake betimes; ye fools, be wise; Awake before this dreadful morning rise; Change your vain thoughts, your crooked works amend, Fly to the saviour, make the judge your friend: Then join the saints: wake ev’ry cheerful passion; When Christ returns, he comes for your salvation.

MOUNT CARMEL

MOUNTAIN

John Needham C. M.

When some kind shep - herd from his fold Has lost a stray - ing sheep, Through vales o’er

---C3-- -0 ------* ----W~ When some kind shep - herd from his fold Has lost a stray - ing sheep, Through vales o’er

When some kind shep - herd from his fold Has lost a stray - ing sheep, Through vales o’er

When some kind shep - herd from his fold, Has lost a stray - ing sheep, Through vales o’er

107 ID

hills, he anx - ious roves,. And climbs the moun - tain’s steep, Through vales o’er

—9 ------V-9 -—U------hills, he anx - ious roves,. And climbs the moun - tain’s steep, Through vales o’er a m

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..in k ■ r - * - ' " — i r i m i r r ' ° » hills, he anx - ious — roves,______And climbs the moun -tain’s steep.

2. But O the joy! the transport sweet! 5. Pleas’d with the news, the saints below, When he the wanderer finds; In songs their tongues employ; Up in his arms he takes his charge, Beyond the skies the tidings go, And to his shoulder binds. And heaven is fill’d with joy.

3. Homeward he hastes to tell his joys, 6. Well-pleas’d the father sees, and hears And make his bliss complete: The conscious sinner weep; The neighbours hear the news, and all Jesus receives him in his arms, The joyful shepherd greet. And owns him for his sheep.

4. Yet how much greater is the joy 7. Nor angels can their joys contain When but one sinner turns; But kindle with new fire: When the poor wretch with broken heart, "A wandering sheep’s return’d," they sing, His sins and errors mourns. And strike the sounding lyre.

MOUNTAIN

108 NEW CANAAN

Watts Psalm 93ii P. M. [6.6.8.6.6.8J

¥ i m The Lord Je -h o v -a h reigns, And roy al state main - tains; His head with aw - ful

The Lord Je - hov - ah reigns, And roy al state main - tains; His head with aw - ful

The Lord Je -h o v -a h reigns, And roy al state___ main - tains; His head with aw - ful r i J. Ejigfc

The Lord Je -h o v -a h reigns, And roy al state main - tains; His head with aw - ful

□

glor ies crown’d; Ar - ray’d in robes of light, Be-

glor ies crown'd; Ar - ray’d in robes of r r r r glor - - ies crown’d; Ar - ray’d in robes of light, Be - girt with sov'-reign n r r I J. II: I

glor ies crown’d; Ar - ray'd in robes of light, B e ­

girt with sov’ -reign might And rays of maj es - ty a - round, round.

109 2. Upheld by thy commands 4. Let floods and nations rage, The world securely stands; And all their pow’rs engage; And skies and stars obey thy word: Let swelling tides assault the sky, Thy throne was fix’d on high The terrors of thy frown Before the starry sky: Shall beat their madness down; Eternal is thy kingdom, Lord. Thy throne for ever stands on high.

3. In vain the noisy crowd, 5. Thy promises are true, Like billows fierce and loud, Thy grace is ever new; Against thine empire rage and roar; There fix’d thy church shall ne’er remove: In vain with angry spite Thy saints with holy fear The surly nations fight, Shall in thy courts appear, And dash like waves against the shore. And sing thine everlasting love.

NEW CANAAN

NEW UNION

P. M. [8.8.8.8.7]

1 n 1 hi1 Jv m J Jw* m* MfuN I* m I 1 o 1 1 1 1 = 4 4 At - tend, ye ___saints, and hear me tell, The won - deTS <3f In:l - m2in - u - el , Who sav’d me from a

IM m J } a f t i J J- J W \J------At - tend, ye saints, and hear me tell, The won - deirs < Df Inl - miin - u - el , Who sav’d me from ai j k 1= f =h - ■ - j■—j— n i —ai ' 'm f i " Mh t=fF= __d __1------d m J. d* 1 # * « 1 fl" ' 8 At - tend, ye ___saints, and hear me tell, The won - de?rs (af In i - miin - u - el , W ho__ sav’d me from a p P m ' m I I I , . tJv 9 =1= P m ^ L_f------At - tend, ye___saints, and hear me tell, The won ders of Im - man - u - el, W ho__ sav’d me from a

Year, Year, 2. At first he saw me from on high, 7. O come, backsliders, come away, Beheld my soul in ruin lie; And learn to do as well as say; He look'd on me with pitying eye, And mind to watch as well as pray: And said to me as he pass'd by, Come, bear your cross from day to day, With God you have no union. And then you'll feel this union.

3. Then I began to mourn and cry, 8. Soon we shall break all nature's ties, I look'd this way and that to fly; On wings of love our souls shall rise, It griev'd me sore that I must die, And shout salvation through the skies, I strove salvation for to buy— And gain the mark and win the prize, But still I had no union. And feel a heav'nly union.

4. But when my saviour took me in, 9. Then ev'ry saint that's here below, And with his blood did wash me clean, Will leave these climes of pain and woe; 'Twas then I hated every sin; And they will home to glory go; And O! what seasons I have seen, And there they'll hear and see and know, E'er since I felt this union. And feel this perfect union.

5. I prais'd the Lord both night and day, 10. There we the glorious lamb shall see, From house to house I went to pray; Who groan'd and dy'd upon the tree, And if I met one on the way, For sinners such as you and me, I always had some word to say That we might his salvation see, About this blessed union. And feel a heav'nly union.

6. I wonder why old saints don't sing, 11. When we recount life's dangers o'er, And praise the Lord upon the wing, Review the labours which we bore; And make the heavenly arches ring, And see ourselves safe on the shore, With loud hosannas to their king, With love our conqu'ror we'll adore, Who brought their souls to union. And feel increasing union.

NEW UNION

111 ODE ON MUSIC

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£ ye____ Nine!____ des - cend______and____ sing,. The

Des - cend ye Nine! des - cend and sing, The

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breath mg in stru - ments. in - spire; Wake in - to

breath ing in stru - ments in - spire;

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112 1 , w---___ml—mlh. j> ; FttM f ^ — J) IT ■ * P f f J* r I ; r 1 l±..M=± - ling lute com plain, let the wart) - - - ling lute com -plain. Let the |->.... k->| 4 = L ------;------1 8 Let the

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113 S3 Moderato

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more length - en’d notes. and slow,

£ £ £

sol - emn or - gans blow, blow, blow, the deep maj - es - tic sol - emn $ blow, blow, blow, the deep maj - es - tic sol - emn

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114 ED Forte F ortissim o

steal up - on the ear, Now loud - er and loud - er and yet loud - er rise,. Tl~ J J i ,1 i j m steal up - on the___ ear, Now loud - er and loud - er and yet loud - er rise,. SJl ' r ir r steal up - on the ear, Now loud - er and loud - er and yet_____ loud - er rise,.

£ and fill with spread ing sounds the skies. i i l ¥ l £ i m and fill with spread ing sounds the skies. = §

____ and fill with spread ing sounds the skies.

OLNEY

William Cowper L. M.

Dear foun - tain of de - light un - known! No long - er sink be - low the brim;

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r 11 r Dear foun - tain of de - light un - known! No long - er sink be - low the brim; But

115 0 A

But o - ver - flow, and pour me down, But

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j .

But o - ver - flow, and pour down, But

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o - ver - flow,------and pour me down A liv - ing and life - giv - ing stream!

2. For sure, of all the plants that share The notice of thy father’s eye; None proves less grateful to his care, Or yields him meaner fruit than I.

OLNEY

116 OPENING HEAVENS

Watts Hymns H No.54 C. M. Air ) i, . j i i

The o - p’ning__ heav’ns______a - round__ m e___ shine____ With beams___ o f____ sa - cred jj-j r r iI 1 tr r i r gm m r r J "j ir r m The o - p’ning__ heav’ns_____ a - round__ m e___ shine With beams__ o f____ sa - cred. ■Ilf i r .1 i r- r if J U =£

The o - p’ning heav’ns a - round me shine With beams of sa - cred

*

bliss, r\

bliss, While Je - sus____ shews__ his____ heart___ is____ mine, And whis - pers,___ I _____ am. -----p—

bliss, While Je - sus____ shews__ his heart___ is____ mine, And whis - pers,___ I am

his. My soul would leave this heav - y___ clay At that trans -port - ing word, Run up with joy the

C resc. m £ Run up with joy the shin - ing way, T ’em - brace my dear - est Lord.

hin - ing way,shin way, Run up with joy the shin - ing way, T ’em - brace. my dear - est Lord. ~ — - — - — , p- > •p.—i _— p—

shin - ing way, Run up with joy the shin - ing way, T ’em - brace my dear - est Lord.

117 AN ORDINATION ANTHEM

Text from Isaiah 49, 52, and 60 P ian o Forte

0 . Fortissim o *

O ____ earth, break forth______in - to sing - ing, O moun - tains, break forth in - to sing - ing, i - iw » » \ w w \P i r r i i- i i i - i J J

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01 ... . _ m p...... j i t * _ n j i>~'p ...... j * n « ...... •m m f J - J ' * " ^ ' ---- P---- 1 P F Y V 1 o moun - tains. fnr the Lord hath com - fort-ed his peo - pie, his peo -pie,

it P tai a m — r T r 1 *r HTr J f l = t = = ! -i-T-7 iH 8 o moun -tai ns, fnr the Lord hath com - fort-ed his peo -pie, —mg-.---- 0 —m---- —---- r—m------\ t t = = = " m — ^ m 1 / r T r i = * = £ = i moun - tains, for______the Lord hath com - fort - ed his peo -pie,

$ m £ s i for------the Lord hath — com - fort-ed his peo - pie. A - wake, a - wake, put______on thy £ $ MM for_ the Lord hath com - fort-ed his peo - pie m ir j j o r r r i r r for the Lord______hath com - fort-ed his peo - pie. A - wake, a - wake, put

118 [55] -^Hfc j i i n p strength, Zi - on,_____ shake______thy - self from______the dust,

* p p on thy strength, O Zi - on,. shake______thy - self from______the

shake______thy - self from the dust. A - rise,. $

dust, from the dust, A - rise,

E50

rise, and shine, for thy light is come, * p P for thy light is come, and. the glor t.r r if

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HD J'lJ

of the Lord is ris’n______up - on thee, and______the glor - y of the m m r i m r p of tbe Lord is ris’n______up - on thee, and______the glor - y of the Lord, and______the r r ir irr pp of the Lord is ris’n______up - on thee, and _ the glor - y of the Lord,

119 Eg

and______the glor - y of the Lord, and______the g lor-y of the Lord is ris’n______up-

2 3 M oderaio ------_ j y ff- t f m _h~ : _ ■ —K — ^ H• = • h 4 = 1 F J f J ■

4 — - 8 ,5n thee.

on thee.

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Hal - le - -*H---- -— > A

p., a * - i W' ' m — r ~ ...... 1 H - t f ' 1 P L T ' Hal - le - lu - jah, A - men, A - men, Hal - le - lu -jah, A - men,

W.....■■■ -' La * ff w > p i H [j==-M—__ «J . ' ... | $ •-?-? LT 1 H = l f=H HE LT ' 8 lu -jah, A - men, A - men, A - men, Hal - le - lu - jah, A -

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120 [153] Piano J TV i r 7 Hal - le-lu - jah, Hal - le -lu -ja h , A - men. Sing, O ye * Hal - le-lu - jah, A - men. m lu - jah, A - men, A - men. Sing,. O ye

m F orte Fortissim o r t Mr heav’ns, and be joy-ful O ____earth, break forth______in - to sing - ing, 0

■ M 'l u and be joy-fill O ____ earth,. break forth_____ in - to sing - ing, O

heav’ns, and be joy - fill O ____ earth, break forth_____ in - to sing - ing, O

m

moun-tains, break forth in - to sing - ing, O . moun - tains, for_ the Lord hath

moun - tains, break forth in - to sing - ing, O . moun - tains,

moun - tains, break forth in - to sing - ing, O moun - tains, for- the

OH .1 = .. [J J /fir tfiP'l com - fort-ed his peo - pie, his peo-pie, for______the Lord hath— com - fort-ed his peo - pie. £

for______the Lord hath com - fort-ed his peo-pie, for______the Lord hath com - fort-ed his peo - pie. 1 ^ -r ir [T‘ J If I J - II Lord hath com - fort - ed his peo-pie, for the Lord______hath com - fort-ed his peo - pie.

121 PARADISE

Watts Hymns II No.ll L. M.

0 £ £ £

O for the pin - ions of dove, To bear me to the____ up - per skies!

for the pin - ions of dove, To bear me to the up - per skies! r r ri ir i ^ L r r O for the pin - ions of dove, To bear m e___ to the___ up - per skies! p p

O for the pin - ions of dove, To bear me to the up - per skies!

i

There from the bos - om of my God, O - ceans of end - less pleas - ure £ ~o~ There from the bos - om my God, O - ceans of end - less p\eas - ure **-■ .1 lJ J r J II J

There from the bos - om of my God, O - ceans of_____ end - less pleas - ure

There from the bos - om of my God, O - ceans of end - less pleas - ure

122 PERSIA

Watts Hymns I No.61 L. M. Piano ¥ Now to the Lord who makes us know The won - ders of his dy - ing love,

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123 0 Forte Piano

And strains of no - bier praise a - bove, Be hum - ble hon - ours

And strains of no - bier praise a - bove, £

hum - ble hon - ours paid be - low, And strains of no - bier praise a - bove,

hum - ble hon - ours paid be - low, And strains of no - bier praise a - bove, Be hum - ble hon - ours

2. ’Twas he who cleans’d our foulest sins, 4. Behold on flying clouds he comes, And wash’d us in his richest blood; And ev’ry eye shall see him move; ’Tis he who makes us priests and kings, Though with our sins we pierc’d him once; And brings us rebels near to God. Then he displays his pard’ning love.

3. To Jesus our atoning priest, 5. The unbelieving world shall wail, To Jesus our superiour king, While we rejoice to see the day: Be everlasting pow’r confest, Come, Lord, nor let thy promise fail, And ev’ry tongue his glory sing. Nor let thy chariots long delay.

PERSIA

124 PHENOMENA

P. M. [8.7.8.7] Air M oderato ■ i—ij $ ¥ See the noon day cloth’d ____ in_____ dark - ness! Man and beast a ston - ish’d stand! r s 5 i = l

See the noon day cloth’d ____ in_____ dark - ness! Man and beast a - ston - ish’d stand!

See the noon day cloth’d in dark - ness! Man and beast a - ston - ish’d stand!

PSALM 119

Watts Psalm 119xvi C. M.

My soul lies cleav - ing to the dust, Lord,

¥ My soul lies cleav - ing to the dust, Lord, $ My soul lies cleav - ing to the dust, Lord,

My soul lies cleav - ing to the dust, Lord,

125 El n ij j give me life di From vain______de sires and ev’ ry lust, Turn

$ CJ give me life di vine; From vain de sires and ev1 ry lust, Turn $ give me life di From vain______de sires and ev’ ry- lust, Turn

give me life di - vine; From vain de sires and ev’ ry lust, Turn

ED

off these eyes of Turn off these eyes of mine.

¥ —er­ off these eyes of Turn off these eyes of mine.

off these eyes of Turn. off these eyes of

off these eyes of mine, Turn off these eyes of mine.

2. I need the influence of thy grace Year, Does not my heart thy precepts love, To speed me in thy way, And long to see thy face? Lest I should loiter in my race, And yet how slow my spirits move Or turn my feet astray. Without enliv’ning grace!

3. When sore afflictions press me down, Year, Then shall I love thy gospel more, I need thy quick’ning pow’rs; And ne’er forget thy word, Thy word that I have rested on, When I have felt its quick’ning pow’r, Shall help my heaviest hours. To draw me near the Lord.

4. Are not thy mercies sov’reign still, PSALM 119 And thou a faithful God? Wilt thou not grant me warmer zeal To run the heav’nly road?

126 RESOLUTION

C. M.

Great king in Zi - on, Lord of all, We bow be - fore thy face; With

& m m ^ W w m • W m Great king in Zi - on, Lord of all, We bow be - fore thy face; With $ Great king in Zi - on, Lord of all, We bow be - fore thy face; With grief we own our

Great king in Zi - on, Lord of all, We bow be - fore thy face; With grief we own our fol - lies past, With

$ £ grief we own our fol - lies past, With grief we own our fol - lies past, And seek thy par - d’ning grace.

grief we own our fol - lies past, With grief we own our fol - lies past, And seek thy par - d’ning grace.

n r 11 LT fol - lies past, With grief we own our fol - lies past, And seek thy__ par - d’ning grace.

grief we own our fol - lies past, With grief we own our fol - lies past, And seek thy par - d'ning grace.

2. While we invoke thine awful name 4. A grateful tribute, Lord, inspire, In this appointed rite, For all thy mercies past: May love divine inspire our songs, Let goodness crown each future day, And fill our souls with light. While months and years shall last.

3. Near to thy feet would we approach, 5. Before thy throne, great God, we bring And find acceptance there. Our highly-favour’d land; Jesus, by thy own sacrifice, Be thou our never-failing friend, Present our ardent prayer. And guide us by thy hand.

RESOLUTION

127 REST

Philip Doddridge P. M. [8.8.8.8]

A m De - scend,____ ho - ly spir - it, the dove, And vis - it a sor - row - fill. $ De - scend, ho - ly spir - it, the dove, And vis - it a sor - row - ful

De - scend,____ ho - ly spir - it, the dove, And vis - it a sor - row - ful.

m r «r ir r £ £

De - scend, ho - ly spir - it, the dove, And vis - it a sor - row - ful.

* £

breast, My bur - den of guilt to re - move, And bring____ me as - sur - ance and rest. $ m m m breast, My bur - den of guilt to re - move, And bring me as - sur - ance and rest.

j_t.j j ir j ,% j m breast, My bur - den of guilt to re - move, And bring____ me as - sur - ance and rest.

breast, My bur - den of guilt to re - move. And bring me as - sur - ance and rest.

2. Thou only hast power to relieve 4. The work of thy mercy revive, A sinner overwhelm’d with his load, Invincible mercy exert, The sense of election to give, And keep my weak graces alive, And sprinkle his heart with the blood. And set up thy rest in my heart.

3. With me, if of old, thou hast strove, 5. If when I have put thee to grief, And kindly withheld me from sin; And madly to folly return’d, Resolv’d by the force of thy love, Thy goodness hath been my relief, My worthless affections to win; And lifted me up as I mourn’d;

128 6. Most pitiful spirit of grace, * 8. Come, heavenly comforter, come, Relieve me again, and restore, Sweet witness of mercy divine! My spirit in holiness raise, And make me thy permanent home, To fall and to grieve thee no more. And seal me eternally thine.

7. If now I lament after God, REST And pant for a drop of his love, If Jesus, who pour’d out his blood, Obtain’d me a mansion above;

RETIREMENT

William Cowper C. M.

*

Far from the world, O Lord, I flee, From strife and tu - mult far;

i r I flee,Far from the world, O Lord,I flee,Far From strife and tu - mult far; m

Far from the world, O Lord,. I flee, From strife and tu - ,-nult far; _p__

Far from the world, O Lord, I flee, From strife and tu - mult far;

0 * From scenes where Sa tan wag - es still His most sue cess - ful war.

a *—* t From scenes where Sa still wag His - es sue - cess - fultan

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129 2. The calm retreat, the silent shade, 5. Author and guardian of my life, With pray’r and praise agree; Sweet source of light divine; And seem, by thy sweet bounty made, And (all harmonious names in one) For those who follow thee. My saviour thou art mine!

3. There if thy spirit touch the soul, 6. What thanks I owe thee, and what love, And grace her mean abode; A boundless, endless store; Oh with what peace, and joy, and love, Shall echo thro’ the realms above She communes with her God! When time shall be no more.

4. There like the nightingale she pours RETIREMENT Her solitary lays; Nor asks a witness of her song, Nor thirsts for human praise.

REVIVING HOPE

Anne Steele C. M.

The sav - iour calls; let ev’ - ry ear At - tend the heav’n - ly sound;

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130 i£ PP Ye doubt - ing souls dis - miss your fear, Hope smiles______re - viv - ing round. £

miss your fear, Ye doubt - ing souls dis - miss your fear, Hope smiles re viv - ing round. £ r r t =$ doubt - ing souls dis - miss your fear, Ye doubt - ing souls dis - miss your fear, Hope sm iles______re viv - ing round.

miss your fear, Ye doubt - ing souls dis - miss your fear, Hope smiles re - viv - ing round.

2. For every thirsty, longing heart, 4. Ye sinners, come, ’tis mercy’s voice, Here streams of bounty flow, The gracious call obey; And life, and health, and bliss impart Mercy invites to heavenly joys, To banish mortal woe. And can you yet delay?

3. Here, springs of sacred pleasure rise 5. Dear Savior, draw reluctant hearts, To ease your every pain, To thee let sinners fly; (Immortal fountain! full supplies!) And take the bliss thy love imparts, Nor shall you thirst in vain. And drink, and never die.

REVIVING HOPE

131 RISING DAWN

Belknap Psalm 122 C. M. £

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132 2. We love the place where Zion’s Lord, 3. Peace be within this hallow’d place, Is pleas’d to shew his face; And joy a constant guest; Here he proclaims his holy word, With holy gifts and heav’nly grace, And here accepts our praise. Be her attendants blest. With reverend awe and godly fear, Our soul shall pray for Zion still, We bow before thy throne; While life or breath remains; For thou the fervent prayer wilt hear, For here our friends and brethren dwell, Thro’ thy beloved son. And here our saviour reigns.

RISING DAWN

SABBATH MORN

Joseph Stennett L. M.

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133 \m m Im - prove the day- thy God has bless’d. «— Lr r r turn, my soul, en - joy___ thy___rest, Im - prove the day. thy God has bless’d.

turn, my soul, en - joy thy rest, Im - prove the day. thy God has bless’d.

2. Come, bless the Lord, whose love assigns 5. With joy, great God, thy works we view, So sweet a rest to wearied minds; In various scenes both old and new; Provides an antepast of heaven, With praise, we think on mercies past, And gives this day the food of seven. With hope, we future pleasures taste.

3. O that our thoughts and thanks may rise, 6. In holy duties let the day, As grateful incense, to the skies; In holy pleasures pass away; And draw from heaven that sweet repose, How sweet, a sabbath thus to spend, Which none, but he that feels it, knows. In hope of one that ne’er shall end.

4. This heavenly calm, within the breast, SABBATH MORN Is the dear pledge of glorious rest, Which for the church of God remains, The end of cares, the end of pains.

134 ST. MARC

Watts Hymns I No. 135 L. M. 1 T'<: J I ,l £

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2. Come fill our hearts with inward strength, 3. Now to the God whose pow’r can do Make our enlarged souls possess, More than our thoughts or wishes know, And learn the height, the breadth, and Be everlasting honours done length By all the church through Christ his son. Of thine unmeasurable grace. ST. MARC

135 SALEM

P. M. [7.7.7.7] £

King of Sa - lem, bless___ my____ soul! Make a wound - ed sin - ner____ whole!

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* = s = ^

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King of right - eous - ness and peace, Let not thy______sweet____ vis - its cease!

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2. Come! refresh this soul of mine 3. Hail Melchizedek divine! With thy sacred bread and wine! Thou great high-priest shalt be mine; All thy love to me unfold, All my powers before thee fall, Half of which can not be told. Take not tithe, but take them all!

SALEM

136 SAREPTA

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pit - y flow, With tears. of_ love eye. —0—

pit - y flow, With tears of_____ love mine eye.

2. I hear the thirsty cry! 5. If not, how shall I dare The hungry beg for bread! Appear before thy face, Then, let my spring its stream supply, Great God, and how present the prayer My hand its bounty shed. For thy forgiving grace?

3. The debtor humbly sues, 6. They who forgive shall find Who would, but cannot pay, Remission in that day, And shall I lenity refuse When all the merciful and kind Who need it every day? Thy pity shall repay.

4. Shall not my wrath relent, 7. But all who here below Touch’d by that humble strain, Mercy refuse to grant, My brother crying "I repent, Shall judgment without mercy know, Nor will offend again?” When mercy most they want.

SAREPTA

137 SEE HE RISES

Thomas Scott P. M. [7.7.7.7J i * An - gels, roll the rock a - way, Death, yield up thy might - y prey: £ £ ~TT An - gels, roll the rock way Death, yield up thy might - mm y prey: -TT An - gels, roll the rock way Death, yield___ up thy might - y _____ prey:

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S ee!____ he_____ ris - es from the tomb, Glow - ing with im - mor - tal bloom m m S ee!------he------ris - es from the tomb, Glow - ing with im - mor - tal bloom.

138 2. ’Tis the savior, angels raise 5. Praise him all ye heavenly choirs, Fame’s eternal trump of praise; Praise, and sweep your golden lyres; Let the earth’s remotest bound Shout, O earth, in rapturous song, Hear the joy-inspiring sound. Let the strains be sweet and strong.

3. Now, ye saints, lift up your eyes, 6. Year, Every note with wonder swell, Now to glory see him rise, Sin o’erthrown, and captiv’d hell; In long triumph up the sky, Where is hell’s once dreaded king? Up to waiting worlds on high. Where, O death, thy mortal sting?

4. Heaven displays her portals wide, SEE HE RISES Glorious hero thro’ them ride; King of glory, mount thy throne, Thy great father’s and thy own.

SMYRNA

Watts Hymns I No. 144 C. M. P iano

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139 II , corn - fort - er, de - scend and bring Some to - kens of thy grace. Great - - Great

I Great -

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11 , corn - fort - er, de - scend - and - bring Some to - kens - of thy grace.

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2. Dost thou not dwell in all the saints, 4. Thou art the earnest of his love, And seal the heirs of heav'n? The pledge of joys to come; When wilt thou banish my complaints, And thy soft wings, celestial dove, And show my sins forgiv'n? Will safe convey me home.

3. Assure my conscience of her part SMYRNA In the redeemer's blood; And bear thy witness with my heart, That I am born of God. SOLID PLEASURES

Watts Hymns H No.23 L. M. $ y r i n i De - scend from heav’n, im - mor - tal dove, Stoop down and take us on thy wings, And mount, and i d P De - scend from heav’n, im - mor - tal dove, Stoop down and take us on thy wings, i E H ¥ £ De - scend from heav’n, im - mor - tal dove, Stoop down and take us on thy wings, And mount, and

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141 2. O for a sight, a pleasant sight 3. O what amazing joys they feel, Of our almighty father’s throne! While to their golden harps they sing, There sits our saviour crown’d with light, And sit on ev’ry heav’nly hill, Cloth’d in a body like our own. And spread the triumphs of their king! Adoring saints around him stand, When shall the day, dear Lord, appear, And thrones and pow’rs before him fall, That I shall mount to dwell above, The God shines gracious thro’ the man, And stand and bow amongst ’em there, And sheds sweet glories on them all. And view thy face, and sing, and love?

SOLID PLEASURES

SPARTA

New Version Psalm 96 P. M. [8.8.8.8.8.8.8.8]

* m £ Sing____ to the Lord a new-made song; Let earth in one as - sem - bled throng Her com-mon pa-tron’s

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142 GH

va - tion crown’d: To hea - then lands his fame re - hearse, His won - ders to the u - ni - verse.

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2. He’s great, and greatly to be prais’d; 4. Proclaim aloud, Jehovah reigns, In majesty and glory rais’d Whose pow’r the universe sustains, Above all other deities: And banish’d justice will restore: For pageantry and idols all Let therefore heav’n new joys confess; Are they, whom gods the heathen call; And heav’nly mirth let earth express; He only rules, who made the skies: Its loud applause the ocean roar; With majesty and honour crown’d, Its mute inhabitants rejoice, Beauty and strength his throne surround. And for this triumph find a voice.

3. Be therefore both to him restor’d 5. For joy let fertile valleys sing, By you, who have false gods ador’d; The cheerful groves their tribute bring, Ascribe due honour to his name: The tuneful choir of birds awake, Peace-off rings on his altar lay, The Lord’s approach to celebrate; Before his throne your homage pay, Who now sets out with awful state, Which he, and he alone, can claim: His circuit through the earth to take: To worship at his sacred court, From heav’n to judge the world he’s Let all the trembling world resort. come, With justice to reward and doom.

SPARTA

143 SUSPENSION

John Newton L. M. Air £ J Jn r i i i J £ My harp____ un - tun’d and laid. side; To cheer - ful hours _ the £

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£ £ $ ” w r harp. be longs; My foes. in - suit ing. £ £ ■■

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2. Alas! when sinners blindly bold, 3. Time was, whene’er the saints I met, At Zion scoff, and Zion’s king; With joy and praise my bosom glow’d, When zeal declines and love grows cold, But now, like Eli, sad I sit, Is this a day for me to sing? And tremble for the ark of God.

144 4. While thus to grief my soul gave way, 6. "Take down thy long neglected harp, To see the work of God decline, I’ve seen thy tears, and heard thy pray’r; Methought I heard my saviour say, The winter season has been sharp, "Dismiss thy fears, the ark is mine. But spring shall all its wastes repair."

5. "Tho’ for a time I hide my face, 7. Lord, I obey, my hopes revive, Rely upon my love and pow’r; Come join with me, ye saints, and sing; Still wrestle at the throne of grace, Our foes in vain against us strive, And wait for a reviving hour. For God will help and healing bring.

SUSPENSION

SWEET SURPRISE

Watts Horae Lyricae C. M. * i £ An - gels are lost in sweet sur - prise If thou un - veil thy grace,

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145 2. When mercy joins with majesty 4. Created pow’rs how weak they be! To spread their beams abroad, How short our praises fall! Not all their fairest minds on high So much akin to nothing we, Are shadows of a God. And thou th’eternal all.

3. Thy works the strongest seraph sings SWEET SURPRISE In a too feeble strain, And labours hard on all his strings To reach thy thoughts in vain.

TEMPLE

Watts Hymns n No. 16 L. M.

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146 QU .1 J i .1 m

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147 TENDER THOUGHTS

Philip Doddridge L. M. Air £ £ $ -~ZT'------A - rise, my ten-d’rest thoughts, __ a - rise; To tor - rents melt my stream - ing___ eyes; And m i A - rise, my ten-d’rest thoughts, __ a - rise; To tor - rents melt my stream - ing eyes; And

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2. Year, See human nature sunk in shame; 4. My God, I feel the mournful scene; See scandals pour’d on Jesus’ name; My bowels yearn o’er dying men; The father wounded through the son; And fain my pity would reclaim, The world abus’d; the soul undone. And snatch the firebrands from the flame.

3. See the short course of vain delight 5. Year, But feeble my compassion proves, Closing in everlasting night; And can but weep, where most it loves: In flames, that no abatement know, Thy own all-saving arm employ, Though briny tears for ever flow. And turn these drops of grief to joy.

TENDER THOUGHTS

148 TREASURE

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149 2. No treasures so enrich the mind; Nor shall thy word be sold For loads of silver well refin’d, Nor heaps of choicest gold. When nature sinks and spirits droop, Thy promises of grace Are pillars to support my hope, And there I write thy praise.

TREASURE

UR

Watts Psalm 26 L. M. $ I love thy hab - i - ta - tion, Lord, The tem - pie where thine hon - ours dwell; There

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0

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VERGENNES

Watts Psalm 84 C. M.

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152 2. To sit one day beneath thine eye, And hear thy gracious voice, Exceeds a whole eternity Employ’d in carnal joys. Lord, at thy threshold I would wait While Jesus is within, Rather than fill a throne of state, Or live in tents of sin.

VERGENNES

VERNAL DAY

Anne Steele C. M. * £ £

When ver - dure___ clothes the fer - tile____ vale And bios - soms___ deck . the

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When ver - dure clothes the fer - tile vale And bios - soms deck the

spray;____ And fra-grance breathes______in ev’ - ry____ gale, How sweet the ver - nal day!

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spray;____ And fra-grance breathes______in___ ev’ - ry____ gale, How sweet __ the__ ver - nal day!

spray; And fra-grance breathes in ev’ - ry gale, How sweet the ver - nal day!

153 03 I* - - =1 - P P r j"h l.t ivfa 4 — = ^ r r l t ■*=* ‘Tis na-ture’s cheer - ful___ voice;____ Soft mu - sic i > = i u ‘Tis na-ture’s cheer - fill voice; -#Ht------J~1 fTUi- r n r b i— h ~ p ~i r f f . - j I r 1 * r d j j \ w f * ■ * ■ 11 d \lJ- 1 r Lf c_r f Hark how__ the__ feath - er’d war - biers__ sing, ‘Tis na-ture’s cheer - ful___ voice;____ fl p rj • ^ —°—■------Jill__■ m u i i r -f - r = r~ T--F-- r =ir r 1 Hark how the feath - er’d war - biers sing, ‘Tis na-ture’s cheer - ful voice; Soft mu - sic

E] ft1 m m hails the love - ly spring And woods and fields re - joice, And woods _ . and fields re - joice. 1 And woods and fields re - joice. h t t cj* cJ i r r J i ° ii And woods _ . and__ fields___ re - joice.

hails the love - ly spring And woods and fields re - joice, And woods and fields re joice.

2. How kind, the influence of the skies! Year, That bounteous hand, my thoughts adore, The showers, with blessings fraught, Beyond expression kind, Bid verdure, beauty, fragrance rise, Hath better, nobler gifts in store, And fix the roving thought. To bless the craving mind. Then let my wondering heart confess O God of nature and of grace, With gratitude and love, Thy heavenly gifts impart! The bounteous hand! that deigns to bless Then shall my meditation trace The garden, field and grove. Spring, blooming in my heart!

VERNAL DAY

154 WEARY PILGRIM

Anna Barbauld P. M. [7.7.7.7] Moderato I w m Come, said Je - sus’ cred voice, Come and make my paths your

Come, said Je - sus’ sa - cred voice, Come and make my paths your F=J- Ji I, J> J— l J> I I r I J $ Come, said Je - sus’ sa - cred voice, Come and make my paths your

Come, said Je - sus’ sa - cred voice, Come and make my paths your

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choice; I will guide you to your home; Wear pil - grim, hith er come! r s = £ 1

choice; I will guide you to your home; Wear pil - grim, hith er come! r \ £

choice; I will guide you to your home; Wear y pil - grim, hith - er come! r s

choice; I will guide you to your home; Wear - y pil - grim, hith - er come!

2. Thou, who, houseless, soul, forlorn, 4. Ye, by fiercer anguish tom, Long hast borne the proud world’s scorn, In strong remorse for guilt who mourn, Long hast roam’d the barren waste, Here repose your heavy care: Weary pilgrim, hither haste! A wounded spirit who can bear?

3. Ye who, toss’d on beds of pain, 5. Sinner, come! For here is found Seek for ease, but seek in vain; Balm that flows for ev’ry wound; Ye, whose swoll’n and sleepless eyes Peace that ever shall endure, Watch to see the morning rise; Rest eternal, sacred, sure.

WEARY PILGRIM

155 WELCOME

Joseph Hart P. M. [8.7.8.7.4.7]

¥ £ Come, ye sin-ners, poor and wretch-ed, Weak and wound-ed, sick and sore! Je - sus read - y * —^^— - — - — ------* — —»-----* ------"-m— w----- v — Come, ye sin-ners, poor and wretch-ed, Weak and wound-ed, sick and sore! Je - sus read - y m Come, ye sin-ners, poor__ and___ wretch-ed, Weak and___wound-ed, sick and____ sore! Je - sus read - y

£ Come, ye sin-ners, poor and wretch-ed, Weak and wound-ed, sick and sore! Je - sus read - y

HI m t stands to save you, Full of pit - y join’d with pow’r: He is a - ble, He is will - ing, doubt no more! $ i stands to save you, Full of pit - y join’d with pow’r: He is will - ing, doubt no more! m m stands__ to___save you, Full of pit - y join'd with pow’r: He is will - ing,__ doubt no more!

stands to save you, Full of pit - y join’d with pow’r: He is a - ble, He is will - ing, doubt no more!

Year, Come, ye thirsty, come, and welcome; Year, Come, ye weary, heavy laden, God’s free bounty glorify: Lost and ruin’d by the fall! True belief, and true repentance, If you tarry till you’re better, Every grace that brings us nigh— You will never come at all: Without money, Not the righteous, Come to Jesus Christ, and buy. Sinners Jesus came to call.

Year, Let not conscience make you linger, Year, View him prostrate in the garden; Nor of fitness fondly dream; On the ground your maker lies! All the fitness he requireth, On the bloody tree behold him; Is to feel your need of him: Hear him cry, before he dies, This he gives you; "It is finish’d": ’Tis his spirit’s rising beam. Sinner, will not this suffice?

156 Year, Lo, th’incamate God, ascended, 7. Saints and angels, join’d in concert, Pleads the merit of his blood: Sing the praises of the lamb: Venture on him, venture wholly, While the blissful seats of heaven Let no other trust intrude; Sweetly echo with his name. None but Jesus Hallelujah! Can do helpless sinners good. Sinners, here, may sing the same.

WELCOME

WELCOME MORN

Anna Barbauld C. M. Air p i

A - gain the Lord of life and light A - wakes the kind - ling ray Un - seals the

A - gain the Lord of life and light A - wakes the kind - ling ray

A - gain the Lord of life and light A - wakes the kind - ling ray Un - seals the

eye - lids of the morn And pours in - creas - ing day. This day be grate - ful horn - age paid, And

And pours in creas - ing day. This day be grate-ful horn - age paid, And ------P_

eye - lids of the morn And pours in - creas - ing day. This day be grate - ful horn - age paid, And

157 0 $ £ loud ho - san - nas sung; U t $ >, , ■ F !.■ I loud ho - san - nas sung; Let glad - ness dwell in ev’ - ry heart, And praise on ev’ - ry tongue, Let m i-1,i, r r r r ¥ loud ho - san - nas sung; Let glad - ness dwell in ev’ - ry heart, And praise on ev' - ry tongue, Let

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glad - ness dwell in ev’ - ry heart, And praise. on_____ ev’ - ry tongue.

glad - ness dwell in ev’ - ry heart, And praise. on ev’ - ry tongue. -G—

glad - ness dwell in ev’ - ry heart, And praise. ev’ - ry tongue.

2. Year, Ten thousand differing lips shall join, 4. Exalted high at God’s right hand, To hail this welcome morn; And Lord of all below, Which scatters blessings from its wings Through him is pardoning love dispens’d, To nations yet unborn. And endless blessings flow. Jesus, the friend of human kind, Now to our saviour and our king, With strong compassion mov’d, Glad homage let us give; Came from the bosom of his God, And be prepar’d like him to die To save the souls he lov’d. That with him we may live.

3. The powers of darkness leagu’d in vain, WELCOME MORN To bind his soul in death; He shook their kingdom when he fell, With his expiring breath. Not long, the bands of death could keep The hope of Judah’s line; Corruption never could take hold, On one so much divine.

158 WHY WEEPEST THOU

Beqjamin Beddome C. M. M oderato r \ ¥ Why, O my soul, why weep - est thou? Tell me from r \

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t - 6 _ r u i b groans that. pierce. the skies, Those groans that pierce the skies? i r \

groans that pierce the skies, Those groans that pierce the skies?

2. Is sin the cause of thy complaint, 3. Lord, let me weep for nought but sin, Or the chastising rod? And after none but thee, Dost thou an evil heart lament, And then, I would, O that I might! And mourn an absent God? A constant weeper be!

WHY WEEPEST THOU?

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