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The Music of the Church Hymnary and the Psalter in Metre

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The Music of the Church Hymnary and the Psalter in Metre The Leonard Library OTpcltffe College Toronto shelf NoJ.BY43A....l.d KS t Register No .V..&..V5....A Presented to Wycliffe College Library, Toronto, by Magistrate James Edmund Jones, Convener and Secretary Hymnal Committee, General Synod, 1905 - 1938 THE MUSIC OF THE CHURCH HYMNARY AND THE PSALTER IN METRE THE MUSIC OF THE CHURCH HYMNARY AND THE PSALTER IN METRE ITS SOURCES AND COMPOSERS WILLIAM COWAN AND JAMES LOVE HENRY FROWDE EDINBURGH, GLASGOW, BELFAST, LONDON AND NEW YORK 1901 PREFACE Tins work has been undertaken with the object of supplying, in a form convenient for reference, information regarding the sources and composers of the music of The Church Hymnary and the companion volume The Psalter in .Metro and Scripture Paraphrases with Tunes. The book is divided into two sections, historical and biographical. In the former section the aim has been to give under the name of each tune, chant, and special setting, the exact title and date of the book or other publication in which it originally appeared. This is followed by such information as has been obtainable in regard to the words for which the music was composed, the changes which it has undergone, and any other particulars of interest as to its usage and history. In a few cases, in spite of much research, it has not been found possible to name definitely the original source of the music, and in others further investigation may reveal an earlier source than cited but in each instance care has been taken that now ; every to verify the statements made, and it is believed that these may be taken as at least reliable starting-points for future research. At the end of this section there is added a list, arranged in chronological order, of all the works which have been cited as sources. In the biographical section will be found notices of all the composers represented in The Church Hymnary and The Psalter in Metre. These notices are necessarily very brief, and are confined to the main facts of the composers careers. For fuller information as to their lives and works, reference must be made to the musical and biographical dictionaries. PREFACE In the musical quotations from the older books the notation has been modernised, and the G clef used uniformly for the melodies. The information as to tunes of German origin has been to a considerable extent derived from the important work by Dr. Johannes Zahn entitled Die Melodien der deutschen evangelischen Kirchenlieder. We have to express our thanks to the numerous friends and have favoured us with information and we correspondents who ; desire specially to acknowledge our indebtedness for much to late Sir Stainer the Rev. Mr. invaluable help the John ; Mr. F. G. Mr. J. E. Mr. Mearns, Ashby ; Edwards, Bumpus, and Mr. J. R. London and Mr. J. 0. Henry King, Griffiths, ; Anderson, Edinburgh. WILLIAM COWAN. JAMES LOVE. April 1901. PART I HISTORICAL NOTICES OF THE TUNES, CHANTS, AND SPECIAL SETTINGS Hy.=The Church Hymnary. Ps.=The Psalter in Metre. HISTORICAL NOTICES OK THK TUNES, CHANTS, AND SPECIAL SETTINGS Abba. Hy. 147. J. BARNEY. n * J 2 C Hymns Ancient and Modern. Supplement, 1889. Composed for this hymn. Abbey. Hy. 235. ps. 27. The CL. Psalmes uf David, in Prose and Meeter : With tlieir whole usuall Tunes, newly corrected and amended. Here unto is added the whole Church Discipline with many godly prayers, and an exact kalendar for xxv. yeeres : and also the Song of Moses in Meeter, never before this time in print. Edinburgh, Printed by Andro Hart, Anno 1615. In this edition of the Scottish P>ook of Common Order or Psalm there for the first time a selection of ]>ook, appears Common tunes, so called to distinguish them from the Proper tunes which were attached to particular psalms. These common tunes are printed in a section by themselves under the heading, The xii. Common Tunes, to the which all Psalmes of eight syllables in the first line, and sixe in the next bee and the tunes themselves are named may sung ; as follows : Olde Common Tune, Kinges Tune, Dukes Tune, English Tune, French Tune, London Tune, The Stilt, Dum- fermeling Tune, Dundie Tune, Abbay Tune, Glasgow Tune, Martyrs Tune. This is the earliest appearance in print of 4 THE MUSIC OF THE CHURCH HYMXARY Kings, Dukes, French, York (Stilt), Dunfermline, Abbey, Glas gow (not the tune now known under this name), and Martyrs. The other four tunes are found in English Psalters of earlier date. The first appearance of Abbey in an English Psalter is in Ravenscroft s Whole Booke of Psalmes, 1621, where it is classed as a Scottish Tune. Abends. Hy. 352. II. S. OAKELEY. Church Hymnal (authorised by the Irish Episcopal Church), 1874. Composed for this hymn. The harmony was revised for the Church Hymnary by the composer. Aber. Hy. 64. W. H. MONK. Hymns Ancient and Modern. Enlarged edition, 1875. Composed for this hymn. Aberdeen. Ps. 167. R. BROWN-BORTHWICK. The Supplemental Hymn and Tune Book, compiled by the Rev. R. Brown[-Borthwick], 1867. Composed expressly for the first version of Psalm 136. Aberfeldy. Ps. 225. The Psalms of David, in Prose and Metre : with the whole Forme of Discipline, and Prayers, according to the Church of Scotland. Aberdene, Printed by Edward Raban, 1633- This tune and Bon Accord are examples of what are called in the Scottish Reformation Psalter, Tunes in Reports, that is containing passages in which the several parts follow each other in phrases of imitation. The present tune appears for the first time in the above-named edition of the Scottish Book of Common Order. It is there placed among the Common Tunes, and is named Montrosse Tone. The tune Bon Accord is also in the volume, but it had already appeared in 1625. In both of these tunes the Trebble is marked as the Church part or melody. In the Psalm book printed by Andro Hart s heirs in 1635, this tune is set without a name to Psalm 2 1 . The name Aberfeldy seems to have been given by H. E. Dibdin, who included the tune in his Standard Psalm Tune Book, 1851. There are HISTORICAL one or two slight differences (principally in the inner parts) between the tune as now given and as printed by Raban and Hart, Absolutio. Hy. 17G. W. HATELV. Privately printed in 1886 for the use of the Musical Association of Free St. George s Church, Edinburgh. The Church Hymnary is the first book in which it has been included. Composed for this hymn. Adeste Fideles. Hy. 30, 31. In spite of much discussion and investigation, the origin of this tune, as well as that of the words with which it is associated, remains verv obscure. It has been frequently stated that the music was composed either by John Reading, who was organist of Winchester College, and died in 1692, or by another English musician of the same name, who was a pupil of Dr. John I51ow, and died in 1764. This assertion seems to rest solely on the authority of Vincent Xovello. In a collection published by him in 1843, entitled Home .Music, the Congrega tional and Choristers I .-alm and Hymn Hook, etc., the music appears arranged as a psalm tune, set to Psalm 106. It is headed Air by Heading, 1680, and the following note is appended: John Reading was a pupil of Dr. lllow (the master of Purcell), and was tirst employed at Lincoln Cathedral. He afterwards became organist to St. John s, Hackney, and finally of St. Dunstan s-in-tlu -West, and St. .Mary, Woolnoth, London. He published towards the end of the seventeenth century a collection of anthems of his own composition, and his productions are generally esteemed for their tastefully simple melodies and appropriately natural harmonies. This piece " obtained its name of "The Portuguese Hymn from the acci dental circumstance of the Duke of Leeds, who was a director of the Concert of Ancient Music, many years since (about the year 1785) having heard the hymn first performed at the Portuguese Chapel, and who, supposing it to be peculiar to the service in Portugal, he introduced the melody at the Ancient it the title "The Concerts, giving of Portuguese Hymn," by 6 THE MUSIC OF THE CHURCH HYMXARY which appellation this very favourite and popular tune has ever since been but it is no to distinguished ; by means confined the choir of the Portuguese Chapel, being the regular Christmas " hymn, Adeste Fideles," that is sung in every Catholic chapel throughout England. As Xovello was for many years organist of the Portuguese Chapel, the latter part of the above note may be taken as giving a correct account of how the hymn became known beyond the Roman Catholic churches, and received the name of The Portuguese Hymn. Xovello s statement as to the composer of the music is, however, a different matter. In the first place, the date 1680 in the heading is certainly incon sistent with the note, for the John Reading whose career is described in the latter was not born till 1677. Further, nothing in the least resembling the music of Adeste Fideles has been found either in any of the second John Reading s published works, or in two manuscript volumes in his autograph now in the possession of Dr. W. H. Cummings. As to the claim of the older John Reading, the organist of Winchester, no evidence whatever has been in its favour and in the absence produced ; of such, the mere name and date given by Xovello in 1843 seem hardly worth consideration.
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