The Old Hundredth Psalm Tune

A H I S T O R Y O F

T H E OL D H U N D R E D T H

P S A L M T U N E

IT H P E N W S E CIM S.

w; A L M . H AVE GA . W H . R E V . R . , ,

C T O F S T . N I C H O L A S A N D H Y C W C E T . R E O R , O N O RAR AN O N, O R S E R

W IT H A PR E FAT OR Y N OT E

V M A N R H T D D E J. . W W G . BY R T . R . I I ,

F N E W Y ' B I S H O P O O R .

N E W Y O R '

M N R O E A S O B T H R S .

1 8 5 4 . E nte ed accord in to A ct of Con r ss in the ar 1854 b r , g g e , ye , y

M A S N B R T H E R S O O ,

’ I S h e Y rk n the Clerk s Ofﬁ ce of the o ut ern D istrict of N w o .

S T E R E O T Y P E D B Y P R I N T E D B Y

T H O IﬂA S B . S M I T H , JO H N A . G R A Y

V 916 V ilIiam Street. 87 Cliff S t . PR E FAT OR Y N O T E .

H E R E no n T is probably musical compositio , with the exception of the ancient Ambrosian and G n n n n regoria to es , that has bee so u iver

n n sally su g by worshippi g assemblies , as the

Old n P m n and n n n Hu dredth sal Tu e , certai ly o e so familiar to the ear of Protestant communi It ties . has proved equally acceptable to the instructed and the uninstructed musical taste .

W n in an n n n n he y co gregatio , through ig ora ce

t n d or bad tas e , it has bee for a time lai aside to make way for more modern yet more feeble

n n n n in tu es , it has bee take up agai , after the t ermission n n and , with i creased i terest ; as its

n n n n and strai s have bee give out by the orga ,

ﬁ n its rst to es raised by the choir or the clerk,

f c n n and c devout af e tio s have bee roused, voi es which had been long silent have swelled the loud

in chorus of praise . It has been known this iv PREFATORY NOTE .

country from its ﬁrst settlement . It was in all probability used by the earliest Church of E ng

n n in V n and la d missio aries irgi ia , it was cer t ainly one of the songs of the Puritan fathers of

’ N ew E n n nc ﬁ nd in A n gla d, si e we it i sworth s P m ‘ P sal s , the book of salmody which they

u H n . It one bro ght from olla d was , therefore , of the tun es to which the wild forests in this new world were ﬁ rst made vocal with the praise

N r u nﬁn of GOd . o was its se co ed to the early

. E uropean settlers ; its loftystrains were taught by them to the 1 nhabitants of theforest they found here ; it was sung by the new - made con

n J n E and m verts of the missio ary oh lliot, the various mission ary settlements amongst the In d n ia s it may yet be heard . T hehistory of such a composition must b e a

' n n ot n t o the mu sician matter of i terest o ly , but to all who have the slightest taste for music al

and to w ho m art, especially those take delight the service of song in the hOu se of the L ord .

H av r l Mr . e ga has performed a most acceptable

in He work his curious researches . has care

nt u b n can fully hu ed p , pro ably, everythi g that

i n n and be d scovered relati g to its origi , has E V PR FATORY NOTE . established its authorship as satisfactorily as

W e n n c an n ow be done . thi k it will b e ge er ally conceded that W illiam Fran c must hereafter be entitled to the credit of comp osi ng this most

Bu remarkable of all metrical tunes . t the result

’ H v r al h of Mr . a e g s researc es is perhaps of more practical importanc e considered with reference

n . s to the form of the tu e This , it eems , has

n c n and n n bee greatly ha ged , he ce the heavi ess , and e n n almost t dious ess , which sometimes atte ds

r its performan ce . Oould its old rhythm be e

’ “ the tune l stored , would more ful y accord with the joyful character of the psalm by which it is c and not n alled, would fail to b e eve more pop ular and useful than heretofore .

The most estimable author of this work , a

n C E n n clergyma of the hurch of gla d , is well known in the U nited States as well as in E ng

n his d evotion o f la d , for to the cause sacred music and no one in our day has contributed

n h as d one t o the r evival more tha he g of. a t aste

c for pure ec lesiastical melodies and harmonies.

f ‘ H isg Old Church in L on

' d on is r obabl h kind , p y the best book of t e which

’

n , R n and has appeared si ce the days of ave scroft, O E vi PREFAT RY NOT .

n W it is gradually doi g its work of reform . e m ’ “ learn fro Mr . Mason s Musical L etters from

” ’ H v r l A M . a e a s c broad , that r g views of chur h music are happily illustr ated in his ow n chur ch .

“ ” “

M . n n n M . The cha ti g was do e , says r , by the

n n and n n w as whole co gregatio , the respo di g between the occupants of the lower ﬂoor and those of the galleries ; but the song was un iver

m en n and n n n b sal , , wome childre u iti g armo

’ 7 niou s voices The tun es to which the hymn s

n were su g , he tells us , were of the old eccle siastical c in m rh thm lass , a si ilar v to that which Mr . H . has shown to b e the origin al

Old n P n and of the Hu dredth salm Tu e, were “ un in s g a quick time , or as fast as propriety

” n n n W would allow the e u ciatio of the words . e

“ further learn from him that there were but one or tw o interludes introduced in a psalm of ﬁ v e

7 “ nz and n ot sta as that these were very short,

n t w o n more tha about measures , or the le gth

” of the l ast lin e of a common metre tune That the evil custom which so extensively prevails in hi n n n n t s cou try , of lo g i terludes betwee the

nz n and im sta as , alike foreig to the psalm the t e , and n l n ul u favorab e to devotio , sho d be abol PREFATORY NOTE . vii i shed and n n not , that the co gregatio should be kept standing to be amused by the tones of

n and the orga , or by the skill of the performer, thus be disturbed or interrupted in their wor A ship , is most devoutly to be desired . pass ing cadence of a few chords connecting the

nz m a ul n sta as y be usef , but more tha this is rather a hinderance than a help to the religious ff e ect of the psalmody . Happy will it b e for the Church when a more pure and devotion al style of song shall

and and n be restored , the light powerless tu es now so often heard shall give way to those which are better adapted to awaken religious

’ n and in n feeli g , which are more accorda ce with

n the dig ity of public worship . W e most cor

’ diall n H y comme d Mr . aver g al s interesting vol ume On the History of the Old Hundredth Psalm

n one n n n Tu e, as mea s of promoti g a reformatio so much n eeded .

N M A R H T N G . J O . . W I W I

N E W Y R ' A i 1 854 . O , pr l,

T H E .

OL D H U N D R E D T H PSAL M T U N E .

T E E of Ster nhold and n PSALTERS Hopki s were , for “ n s ll n h n n a lo g time, u ua y pri ted wit apt otes to si g

of n n of n withal . Some those otes or tu es were E glish origin ; but the majority were brought from the Con

i n f n and t ne t . n o The i tercourse ki dred Reformers,

n of e n n en the retur xiled co fessors , co tributed to the

n of of n hi su ﬁi c ed largeme t the little store tu es, w ch ,

ﬁ n when metrical psalmody rst came i to use .

n of n The umber the the tu es themselves ,

n n n f E r e were ot the same i all editio s o the psalter . qu ent changes were made by succeeding edi tors ; so

n of n that, betwee the psalters of the early part the reig o f n z and of the n two re n 'uee Eli abeth , those ext ig s ,

n ff n n there is a co siderable di ere ce . The ge eral nu m

of n h n On ber, however, the tu es, whic were pri ted, the

n of n t of establishme t the Reformatio , was for y . But ,

n n n one now nl n n the e tire umber, o ly is commo y k ow .

one n un That is the tu e to the h dredth psalm . Some

‘

' of -ﬁr st and the rest , particularly the old eighty , the ” ndr and n c on Old hu ed thirtee th, as they were called, tinu ed in par tial ' u se till the beginning of the present O L E 1 0 THE HUNDREDTH PSALM TUNE .

century ; but modern trash has consigned them to O b livi on and n one ; the whole forty, save o ly this , have l (ti l very lately at least) ceased to be seen or heard .

in o f Happily , almost every parish the British Isles, * n n n n n and this tu e has co ti ued to be k ow admired . It

fﬁ in n ﬁ nd would be di cult, perhaps, except Irela d, to a n in n n n y parish which it is positively u k ow . Its sur vival n of n , therefore , amidst the oblivio so ma y excel

n ne and its n n le t tu s, u iversal popularity, co stitute a

of n n and of its n n fair proof its i tri sic merit, ge ui e suit

n ableness for divi e worship .

n n nn To the devout Christia , such a tu e ca ot be other

n n of wise than deeply i teresti g . The thought its hav “ in n n n an in n g bee su g, for ma y age , the great co gre ” n and n m of n gatio , of its havi g for ed the solace ma y a

in or heart the cottage the closet , must always add a

ll n n ha owed pleasure to its use . The co sideratio , too , t hat Protestant martyrs and exil ed confessors have l n n n in iste ed to its strai s or joi ed them , may well give an and n an ff n n our exalted eve a ecti g e ergy, to modu lat ion of them .

T H E O F ndr NAME THE TUNE , as The Old Hu edth

l n n I n un u . n Psalm T e , is pec iar to E gla d foreig

l in n and psalters, especia ly the Fre ch the Dutch , the

n nd - .tune is set to the hu dred a thirty fourth psalm . From the days o f the Reformation to the end of the s n n n u nl in E n eve tee th ce t ry, it was commo y called g l and The Hundredth Psalm Tune ; but u pon the publi

’ n of and new n n catio Tate Brady s versio , its prese t

It is also universally sung in the U nited States of America . T H E O L D HUNDREDTH PSALM TUNE .

t n . n or itle came i to use About a ce tury more ago , “ ” n V and n it became the fashio to call it SA OY, u der that name it appears in many collections o f a subse

n n que t date . The fashio took its rise from a vague

n n n fa cy respecti g its Savoyard origi ; but, Older cus tom and wiser belief have given prevalence to the ex

In n ‘ n istin n. a n n g appellatio America, i elega t variatio

and n n H un is made , the tu e is commo ly called Old

n . and dred Why such a departure from li gual custom,

not orthographic propriety should be made, does appear.

T H E X O F n TE T THE TUNE , though ever formally dis

u d n n An in te ot n . d p , has always bee u iform yet, all

n n n not in the Older versio s , the variatio s have bee , the

n in the time of n tu e itself, but its otes . Apart from

n n palpable mispri ts, the melodic progressio seems to have been correctly preserved ; only a somewhat

n n n altered character was give to it , accordi g as certai n in n otes it were made lo g or short . All the earliest copies of the tune contain a nicely poised blending of long a nd short notes ; but later

n in n of n versions prese t it otes equal le gth . Towards

nn n n n n mo diﬁ ca the begi i g of the last ce tury, a wa to tion of the time of the tune was made o n the Conti n n n 1 73 0 n n n n . I e t , Joh Sebastia Bach pri ted the tu e in triple measure but whether the conceit originated

u n or one with that s perlative musicia , with some before

n Con ot . n him , is quite clear Si ce that date , several tinental s n and n editor , both Roma Catholic Protesta t, have adopted the unwarrantable modiﬁcation ; but no

English collection of any repute contains it . T H E O L D ' E HUNDREDTH PSALM TUN .

' ’ ‘ ear liest c o of t n as no n The py the u e, so far is k w ,

' ‘ stands in a Genevan edition of a por tion of the English

a e v an v u e in Ps lter, pres r ed as article of rare al the ’ f n n T h f Library o St . Paul s Cathedral,Lo do . edate o

' the The tune is therein given to ’ Ster nhold s r n of n s ' ve sio the Hu dredth Psalm , thu

PSALM C .

n wn of t he n a ll With this earliest k o copy tu e , the subsequent copies of the foreign psalters completely

and of Our n sa e agree , most early E glish p lt rs agree also , with the exception of a slight alteration in the last strains,' ’ ﬁ n Sternhold s w ith notes The rst editio of Psalter, ,

The real facts of thc case are thus stated by the lat e R ev. B . H . ’ Of n 1s ot w n n St . . n G n Barham , he Libraria of Paul s The ame e eva

’ on m in n t the Psalter which occupies the iddle space a volume , co sis ‘ in F m a nd M n a n mn g of a or e of Prayers , i istr tio of the Sacra e ts , ‘ ’ ’ and a n t a on C lvi s Ca echism , both of which have th t place their am in the a n m title pages , with the s e date , s me u erals

' ha a nd not The whole c racter of the type is the same , I have the t a t nt ‘ ' n sligh est doubt th t hey were pri ed by acharie Dura d , whose ” n n on h ame sta ds bot the last mentioned works above the date . In 156 1 J n n n n s the i , oh Day, of Lo do , pri ted a Dutch P alter, for th use of the refugees from e Low Count ries . The title of the cOpy ' ’ ” s in M 1 s H onder t n t L on the British useum , Psalme David s , oc avo , “ ” “ 1 and don 156 M 1220 . c . l o the , , the Press ark is A th ugh ﬁ str a iriOf tun in s the t t me not rst the e occurs several psalm , itself is

in the volume . D T H E OLD HUNDRE TH PSALM TUNE . 1 3

s 1 w as i in 55 6. di d n ot publ hed It , however , comprise

n r of s s nor n n t more tha a thi d the P alm , co tai ei her the w or d s or the tun e of th e Hun dredth Psalmﬁ It w a s not ill th e a 1 5 62 n n , however , t ye r that Joh Day pri ted

’ a t n St ernh ol d an d n t comple e versio of Hopki s s Psal er, ” “ ’ w ith apt notes to sing withal . Though many au

s f hi sa an d n n o . thors as ert the pri ti g “ t s p lter record its

‘ t l s of e u al e i s it e , yet other q repute altog ther d believe

' its ever hav in g exi sted They ar e of opinion that it w as not till 1 5 63 that the ﬁrst complete En glish p sal t er

n l n n y w as pri ted . The late Mr . Lea Wi s o stro gl held

n s n n n y this opinio . He posses ed the o ly k ow cop of

hi -n a now in the s s n t s last amed ps lter, which is pos es io of Mr n s n u s . . h . W Pickeri g, the di ti g i hed publis er

n ns not n i But , as Sir Joh Hawki o ly gives the t tle of

‘ 1 5 62 s s n the Psalter of , but copie everal tu es from it , there can be n o rea s onable doubt of its once having

. now n existed Where his copy is, or where , i deed an is to n ft t ns y copy be fou d, the author, a er ex e ive

n an d n n s ta n . dilige t search , is u able to a cer i No e of

r s s s nor e . . n our great libra ie pos es it, do s Dr H Cotto , “ in the second edi tion of hi s Li st of Edi tions of t h e ' and the m in n sh an Bible , Psal s E gli , give y clue to the

ﬁn y a n if n o f . t di g it It is prett cert i , however , tha t sa of 1 5 62 not n in here was a P lter , it did co ta the Old

n un not nl hn Hu dredth Psalm t e, o y because Sir Jo

n n n o of a n 1 577 bu t Hawki s had see copy it e rlier tha ,

’ s is n n in L ea l s n o y becau e it ot to be fou d Mr . Wi o s c p o f

s s A copy of thi Psa lter i preserved in the Bodl eian Librar y . ‘ n ul sa y in an i n i l 1 Si g ar however to , a writer Amer ca period ca , 1 4 THE OLD HUNDREDTH PSALM TUNE .

As no complete edi tion of the Engli sh Psalter is

n n n n d in 1 564 c an k ow to have bee pri te , there be little doubt that the ﬁr st appearance of the tune in

’ Ster nhold and Hopkins s Psalter was in the edition of

1 5 65 of n l in , which editio a beautifu copy is preserved

n the British Museum . The versio of the tune in that copy is precisely the same as the version in the Cc

’ n n n n . ul eva copy belo gi g to St Pa s Library .

n n its ﬁ n n n Traci g the tu e from rst k ow appeara ce, in 1 561 n - b e n in u u , it is ext to see a remarkably bea tif l “ n n a n nn copy of the Ge eva Ps lter, pri ted Par Estie e

n now in n of A astase , possessio the author, but which appears formerly to have belonged to a Duke

n n n n of Gordo . The versio is agai ide tical with its

n prototype , already give .

in 1 563 n n But, the year was pri ted by Joh Day, of

n n and n n n Lo do , the most valuable i teresti g collectio

f - n o church tu es which has hitherto come to light . It goes far to settle what may be regarded a s the true

in English ver sion of the tun e . The work itself is the * li n and ns of brary of Braze Nose College , co ists four

“ ” N ew E n n n n i 19 in ( The gla d Purita , Bosto , Apr l , the an t n n ot n course of elabora e article upo psalmody, o ly speaks with nﬁ n a n 15 62 l great co de ce of the cert i ty of the Psalter of , but actua ly H n n n in . is gives a copy of the tu e as co tai ed it copy, however , of n and n his the tu e is so palpably spurious , the te or of remarks so u and n t st n e n vag e u satisfactory, tha he mu be co sidered as ither havi g n nt t n n n ni n falle i o some great mis ake , or as havi g writte a co ve e t fable .

is now n in E n n . . This , perhaps , the o ly perfect copy gla d Dr

R imbaul t is said to have sold his copy to an Am erican library . an i in There is mperfect copy, or rather two of the four parts of it, M n b in the British useum . There are also some odd um ers of it the

Bodleian . T H E O L D HUNDREDTH PSALM TUNE . 1 5

n n separate small Oblo g volumes . From bei g cata

lo u ed an n n g as a psalter, without y refere ce to the tu es, it escaped the notice of all o ur musical historians and

n For n of n n n . a tiquaria s wa t acquai ta ce with it, both

n and n n n n Dr . Bur ey Sir Joh Hawki s fell i to ma y

groundless surmi ses and positive mistakes . The dis

c ov er of musi ca l y the work, as a curiosity, is fairly ’

son . . attributable to the author s elder , the Rev H E .

H aver al n n old g , whe , some years ago , seeki g for copies

of the tune under investigation .

In w h ﬁ of this ork, w ich was probably the rst its ’ n in n n and M u ki d E gla d, which may be called Day s

sical of 1 563 n n in Psalter , the tu e is pri ted four parts , “ n not n in but' what is rather si gular, it is ra ged its numerical position with the other psalms i' This is not n in nﬁ o f o ly remarkable itself, but co rmatory the fact of the tune not being inserted in the Psalter of

1 563 on an d , for, except the surmise that the words

n not ﬁ u fﬁ the tu e were at rst f lly established, it is di cult to account for their being placed otherwise than in nu n merical order, especially as the same pri ter was

“ ’ ” t n n n n bu t no an His oria s me tio Parso s Psalms , copy of y vol

n t n n et n . ume beari g tha desig atio has y bee discovered It is , there ’ not t t n n fore , improbable tha his work of Day s was popularly k ow as “ ’ ” n W n n Parso s Psalms , because illiam Parso s was the chief musicia and it t s . of the volume , mos likely editor T It may be worthy of notice that in an edition of Ster nhold and ’ n n J n n in G n in 15 69 and Hopki s s Psalter , pri ted by oh Crespi , e eva , , no in w n R ev . . t n the possessio of the T Lathbury , of Bris ol , the tu e and n the n n words are placed amo g i troductory hym s of the psalter , V n t n s t n t after the e ite , which circums a ce goes to how tha the lo g me re h version of t e Hundredth Psalm was not a t ﬁr st p r efer r ed to the com mon t n s st n in the . me re ver io , which is ill fou d old psalters ' 1 6 H U N D E E D T H THE OLD PSALM TUNE .

In employed for both works . this musical psalter the

' melody of the tune is pr ecisely the same as in the ver

n of ﬁ n n of n sio it rst give , with the exceptio the seco d a nd third notes of the last strain being minims instead of n n n n semibreves . That strai co seque tly si gs thus

n and . no Reduced , therefore , to more moder shape

‘ t ation the tu ne n , assumes this sta dard form

n u iﬁ so The tu e th s slightly mod ed, as to equalize the

O f all n n time its strai s, seems to have bee regarded by

n not Rave scroft as its most correct, if its strictly orig inal form ; for after this model he printed it in 1 621 and all subsequent edi tors of our old Church Psalters

s n followed his deci io . The symmetry of the tune thus modelled is remark

n di n or ably beautiful . Had that beauty bee scer ed

n n eve suspected , it might have saved the tu e itself from the violence which has been practised u pon it . A few remarks may sdfﬁc e for developing its peculiarities . Am ong a ll the psalter tunes there is not one which

n In no c ollec is formed after the model of this tu e .

1 8 THE OLD HUNDREDTH PSALM TUNE .

n n was certai ly very commo . The following version

, n n was several times pri ted by Joh Day , before the

1 590 and n year ; became , as before i timated, a rather

n n n n commo versio with musicia s . It is ext to what ’ R avenscr oft s n in n may be called versio , poi t Of sym metry

n n n Still , the prevale t variatio from the sta dard ver sion was that which the American writer in the N ew E ngland P u r ita n professes t o give from the English

of 1 562 and n or n psalter which Day pri ted repri ted,

n for ﬁ in 1 575 in appare tly the rst time , both a quarto an d an ' octavo psalter . It is this

This is the version which William Damon used in ’ 1 579 and D oul and n , which harmo ized for Este s psalter m 1 592 and n a n in , agai , s there is reaso to believe ,

- f 1 61 1 n in o . . It is fou d, also , other psalters a later date It is adopted by Henry Ainsworth i n his curious ver s n n io Of the Psalms, pri ted by Giles Thorp , at Amster 1 THE OLD HUNDREDTH PSALM TUNE . 9

’ 1 2 R a enscr oft s in 1 6 . v dam , It further appears, after ’ in ' n n in 1 63 6 time, i g James Psalter pri ted , by

n n Thomas Harper , at Lo do .

n and n an But a far greater variatio , eve at early

in period, was made several psalters , by the very

n n I parties who pri ted the better versio s . n two

one in 1 583 and n in 1 584 psalters by Day, a other

d n n an . . (Bodleia Library, Rev J Metcalfe , Ca terbury), the tune presents this vitiated form

A similar corruption is printed by Windet in a

1 599 n and psalter Of (Rev . J. Metcalfe , Ca terbury) ; again 1 11 1 609 (Bodleian Library) ; and also by an

n n n in 1 1 a o ymous pri ter 6 7.

n and not ﬁ From these Specime s , it would be dif cult

’ e is er fectl n to multiply th m, it p y plai that the practice of writing and printing all psalm tunes in notes Of

n not n equal le gth , did origi ate , as alleged by Mr . “ H ullah n n In , with ho est Joh fact he did n n and n n a othi g half so bad as Day Wi det did , early

n n n ce tury before he pri ted a ote . The version which

far can M H ull ah in To him , as as I trace (says r . , the Preface

. exclu sivel n n n to his Psalter , p is due y the i ve tio of that barbar ous and monotonous manner of singing psalms— the m a king a ll notes ” tlz e sa me len tlt — qf g . How careful should living editors be of making grave charges against deceased worthies 1 20 THE OLD HUNDREDTH PSALM TUNE .

’ a nd n n he followed, which , for disti ctio s sake , may be

’ Pl a for d s e n called y v rsio , as everybody afterwards fol

n 1 588 in lowed him , is fou d as far back as , at least, , a

n n L on psalter pri ted by the assig s of Richard Day,

n I n n d o . t in o e o f 1 594 n is fou d , also , n , quarto , Lo do

n and in n 1 595 n (Bodleia Library) ; a other Of , by Joh

n Wi det .

w n a u From hat has bee dd ced, it is clear that the earlier printers or editors of o ur E nglish psalters were not at all choice in selecting authentic cop1 es Of the

n m n Old Hu dredth Psal Tu e . They seem to have

n r n m ﬁ o ne n and n pri ted, almost at a do , rst versio the

n . not n . a other Sometimes, though freque tly, they

, n n or n n n pri ted eve the earliest, Ge eva versio ; for a ’ of n in 1 575 and n t H n psalter Joh Day s , a o her by e rie

n in 1 588 n n D . e ham , co tai it

The m a cc ur a cy Of many psalters is very great . The

s in n n c an h p re s , some i sta ces , ardly be said to have b of 1 een corrected . Most the errors ar se from a mere i nversion of the metall ic block in which the note was

ﬁ h b n n n xed ; so t at, ytur i g the page upside dow , the

n ne n true readi g will appear . O commo error is the dropping Or eleva ting the note exactly a third o u t of

n in n . c place He e , most cases Of deviatio from the true

n n n nd for readi g, it is easy to discer what was i te ed ; the printed note i s so inconsistent with the melodic progression, and so disconnected with either the note

b or n t n c or efore the ote after, tha the error well igh

r ects itself. ’ f t r nhold and n In a small copy o S e Hopki s s Psalter , ’ n D Or t in 1 601 ce n in Bo d pri ted at , , (Dou s Collectio “ E T H E OLD HUNDREDTH PSALM TUN . 2 1

leiah Library) the tune p resents s u ch a remarkable

‘ n in n n c an r e variatio the seco d strai , that it hardly be

an O r nt garded as ve sight . It is pri ed thus

Such deviations from the original melody are not

n n n . nt commo . This specime is u ique No pri er fol

’ l ow ed it ; nOr was the tune in popular use affected by

n dl . not c en it I deed, it was till the mid e Of the last

and i n n n n melod tury, that E gla d o ly, that the y suf * fer ed an n n n n y perversio . The Co ti e tal copies have preserved the progression Of that melody with singular

ﬁ n delity . The modern Parisia psalters present the

. n in tr i le n e u h tu e p time , but the tu e its lf is otherwise

n . n n cha ged Our E glish si gers, however , have per verted the last strain Of the tune ; and the perversion

d n is so established, that editor after e itor, of a certai

n in of n class , has pri ted it , full belief its authe ticity .

c an n n As far as be ascertai ed, the earliest pri ted copy

’ ’ Of this perversion is found in Fox s edition Of Playfor d s t n sin u e 7. The last strain is therein given thus

Dr . Crotch twice o r thrice published the tune with a br eve at nd e er the e of v y strain ; but no psalter furnishes authority for the elongation T H E O L D 2 9 HUNDREDTH PSALM TUNE .

In this alteration Of the strain t here is nothing essen tiall n or f n In y wro g, O fe sive to propriety . fact , as a

n n melodic phrase , it is as good as the origi al ; o ly it is

n In not . n of the origi al a class Of tu es, the compass

n n n n which is ecessarily very limited, atte tio to origi al

u n r in struct re is importa t, otherwise the compose is

n n and c on jured, the ide tity Of the tu es is destroyed,

n fusion amo g them is produced .

In n n n n the E glish psalters, the tu e is i variably pri ted

and n in n in the key Of F ; ge erally the te or clef. It is thus printed in the Oldest copies o f the German

and r n n in psalters , also Of the F e ch , as may be see

n n n in 1 563 1 564 three octavo editio s, pri ted at Lyo s , , , a nd 1 587 and in n , preserved the Bodleia Library at

n - Oxford . It is similarly pri ted in the beautifully fresh 1 562 copy Of the same psalter, dated , to which refer

n n e ce has already bee made .

In n of n n the later editio s the Fre ch psalter , the tu e

n ll in of B ) and is ge era y set a fourth higher, the key 1, i n - n In n n the cou ter te or clef. some i termediate edi

n in f. tio s, it is C , with the same cle The Dutch psalters

in and in f. give it mostly that key , that cle If, there

n n n fore , the tu e were su g as pri ted, the voices would

n be forced in to an unseemly elevatio . But there is ample reason for beli eving that the key in which a

n in is not tu e , these psalters , is set, always a correct n guide for the pitch in which it was really su g . The precentor or clerk would be supposed to have the reg ul tion of and n a that matter, to settle it accordi g to the

o f c n n or state the choir, the capacity of the o gregatio , the time O f the service . THE OLD HUNDREDTH PSALM TUNE . 2 3

T H E ORIGIN O F ' THE TUNE has been a topic of much

dispute . Popular Opinion is divided in assigning it

n n . n pri cipally to three i dividuals , viz , Marti Luther,

Gou dimel and n Claude , William Fra c . But , whether

n an n n or the tu e is origi al compositio , a mere adapta

n and n tio , if adapted, whether it has bee derived from

or n n secular ecclesiastical sources, has ever bee the

ﬁn of subject Of de ite discussion . As the Writer these

‘ an h othesis ow n remarks has yp Of his to develop , a

n n n few prelimi ary Observatio s may be expedie t .

n Metrical Psalmody was preceded , amo g the com ii mon of h mnol o people , by a sort rude y gy The

- n n doggerel like hym s Of early Protesta ts , both at home

and n an n abroad, were usually su g to y existi g melody w n hich could be applied to them . Whe the Psalms

n in bega to be used a metrical form , those melodies were transferred to them— but then the melodies them

not n selves were ge erally sacred, but secular composi “ n n n tio s . Ma y Of them were the most favorite so gs

o f or and n n of the times , ballads, eve s atches more

n r n vulgar strai s . Othe s were accommodatio s from “ such tunes as were easy to learn and play on the

and n n . viol , other i strume ts

n n . in As the Reformatio adva ced, especially Ger

n and n r ovid ma y Ge eva, a better style of words was p

and in ed, , as most Of the Reformers were skilled music ,

n In Ger m an a better style of tu es followed . yﬁ there

n xt nt n t he . F Some early specime s are e a amo g papers of Dr airfax , in M the British useum . t Germany was certainly furnished with innumerable psalmodists and n n e n n in 1509 hym ologists , lo g b fore Calvi (who was bor ) became ' 2 4 PsAL M T N THE OLD HUNDREDTH U E .

o n fore , where metrical psalm dy either origi ated, or

ﬁ n of n n mu rst assumed the sembla ce p erfectio , ative

81 1 n no of Old di c a s doubt supplied some the melo es .

n few . L u ther Joh Huss composed a , composed more ,

how n 1 s ; n Gallicul u s and but ma y very doubtful Joh ,

o and probably Walther, composed thers ; Rhau , a

n o and n o f W itt embu r h lear ed b okseller musicia g , as

’ n n o f Galliculu s well as the perso al frie d , is said to have

n M l n h n . e a ct o n n added to their umber , too , is me tio ed

t as one among the early contributors to the stock Of

n n Germa chorals . But as it is otorious that Luther was not over-scrupulous about the adaptation of secular ' e c on ec melodies to sacr d words, it is allowable to j

n ture that his frie ds were also favorable to it . It ,

n therefore , is probable that adaptatio was practiced

n . n before compositio was applied If so , adaptatio from well-known ecclesiastical music was quite as

. no n t o likely as from secular music . But there is eed rest on probability ; for it is a fact that many Grego ’ r 1an in ow n n and phrases are traceable Luther s tu es , In other Lutheran chorals ; while the hymn book Of

n n r m t ed U lm in 1 53 8 the Bohemia Brethre , p at , avow edly abounds with them sj'

- ” - — six n t . . the head O f a sect . He was but thirty whe Lu her died (Dr ’ Bu r ne s . M . . . y Hist of usic , vol iii , p ’ He set a version of the Lord s Prayer t o a melody which had been “ ” n n H istor ies i n R h me t n used for si gi g y , or a sort of bardic recita io

n ' n and n in of facts a nd circumsta ces . Bur ey Hawki s quote other n of n and n sta ces adaptatio , of a more Objectio able character , especially an G n e in the R oman Catholic church . If y of the erma chorals com n r ﬁ and to us from this origi , time has pu i ed them , buried those asso

cia tions. t The only known copy of this most beautifully printed work is

2 6 THE OLD HUNDREDTH PSALM TUNE .

n n n n n an c and Opi io co cer i g historical fa t, placed him

on self a level with other respectable witnesses . It is not stated that he ever assigned any reason for his as

o n hi n n n serti , w le the circumsta ce Of his bei g a Germa a nd a n n n in n of Luthera , would i cli e him , speaki g

ne s o ne in n n psalm tu s , to as ociate so popular E gla d

n as was the Old Hu dredth , with others which he well

n n in n n k ew origi ated his ative commu ity .

. n n n Dr Bur ey, therefore , o ly exercised due cautio “ when he wr ote thus ' It is said to have been the

n n n Opi io Of Ha del , that Luther himself was its author, bu t of thi s I have been able to procure no authentic ” l ii n n f. i . vo . proo (Hist . Mus . , p Notwithsta di g,

n of c orr ob o however, the wa t historic proof for the

’ n O f n n n and n ratio Ha del s Opi io , popular belief, editio ’ n n ﬁ after editio has , for the last ce tury , pre xed Luther s

n un or n . ame to the t e , called it a Germa melody

2 In n of n . oppositio to the surmise Luther bei g the

of n composer it , are the followi g broad facts, which ,

n though Of a egative character, go far towards a posi

n n not n in an tive conclusio . The tu e is pri ted y

’ O f ow n n nor in an n r e Luther s publicatio s , y authe tic

f In n n old n print O them . o e Of the Germa choral

n books is the name of Luther attached to the tu e . In many O f those books the name Of some other * n n composer i s attached to the tu e . The tu e was

in n not never very popular Germa y , half so popular as

n z n it t o M el ancthon a nd W n t o d G n Fra t assig s , er er Clau e o di ” In n S ir itu alia u r n mel . the Ca tica p , (A gsbu g , the tu e is in t and San G Ca tholic mn printed triple ime , attributed to the oar Hy

Book of 1666 . 2 THE OLD HUNDREDTH PSALM TUNE . 7

’ a ny Of the tunes which were know n to be Luther s .

N O n an n c on Germa writer, Of y accou t, has ever

SO tended that Luther was the composer Of it .

1 621 n not n au early as , Rave scroft had ascertai ed its

n n not thor, but co cluded that , as to its origi , it was

n Germa .

n of n I the face these egative facts , some more posi

n n an now n tive evide ce tha y exta t must be adduced,

n c an an n ere the tu e , with y show Of reaso , be attrib u ted to Luther .

3 n or . It may be remembered that , about seve eight

n an d years ago , ewspapers other periodicals were jubi “ lant in announcing an interesting and important dis ” c o er n n m n v y respecti g the Old Hu dredth Psal Tu e .

n O f It was stated that Mr . Olipha t , the British Museum , ’ Old nt n n had met with a very book Of Luther s , co ai i g * n ow n n and n one o ly his tu es, that amo g them was the

n onsid which we call the Old Hu dredth . This was c

’ n n an d ered as proof positive Of the tu e bei g Luther s , ,

and n O f n therefore , a full satisfactory settleme t a lo g

n n n And n pe di g questio . such , u doubtedly , it would

n ease n have bee , had the facts Of the bee what they

. n t n were said to be But, u for u ately for all who are

n in n n to o i terested the questio , rumor had bee hasty , and . n n n a little too busy Mr . Olipha t had bee misu

' d er stoo d . His mention of a partial resemblance had

n n ﬁ n n U n n bee mag i ed i to a total ide tity . po applicatio

n n n to that ge tlema , he ki dly supplied a copy Of the

“ M n Ge stliche 8vo . N ur em The title is Luther ( arti ) y Lieder , berg, 2 8 D H N D R O L U E D T H . THE , PSALM TUNE

“ n is hea d ed in n n tu e, which , Germa , A other Spiritual ” n n n So g . The followi g is a tra script of that copy

in ﬁ n Of Now, the rst strai this sweet Old melody , * there is a resemblance to the ﬁrst strain o f the Old

n n and ﬁ n Hu dredth tu e, the fth strai , a merely varied

n n . ﬁ repetitio , is almost ide tical with it The rst three n n otes , also , of the third strai Of the melody, are the

a ﬁ f n u r n s me as the rst three o the third strai Of o tu e .

c n of But this is all that a be said . The metre the two

no t n one is the same , either is the mould Of the at all like the mould Of the other .

e of and n n The discov ry this Old book, the i teresti g

n n n melody which it co tai s, though , as will be show , it

no n in n of is discovery at all, fur ishes, poi t fact, addi tional groun d for believing that the Old Hundredth is ’ t n For or n no . Luther s compositio , as to similarity ide

n in not tity Of strai phrase , it is likely that the same composer would make that phrase or strain the leading

in tw o n idea tu es, especially as other composers have

In n f n id entica l ' can no poi t of act , the strai is for there be doubt , L n s n n mis as subseque t remark will show, that the seco d ote of it is a

n n . pri t , A bei g put for B THE OLD HUNDREDTH PSALM TUNE . 29 adopted the same idea in other once well -known n tu es .

n n After all , the tu e which was , at the time, co sidered

and an n o ur a discovery , additio to musical stock, is n on n r - either e o the other . It is a well kn own and

n - n n in n o n commo ly pri ted tu e , the Luthera church the

n n n n Co ti e t . Hardly a Germa Choral Book is without

’ 1 4 in n it . It is ex . gr . NO . Sebastia Bach s Choral G e

’ N O 1 44 in n n . N 493 in n sa g Buch ; Wer er s ; O . Joh

’ ’ Miill 2 in ' N O 8 . n n er s U . and . 48 Da iel ; Fra tz s, page ’ u not n i in Christian M ller s . It is pri ted n the Mora

n n n . n via Hym Tu e Book Si gular also to say, it is ’ n in n 1 561 pri ted Joh Day s Dutch Psalter, Of .

n With respect , the , to Luther, it is clear that there is not only no evidence Of the tune bemg his composi

n n tio , but much to the co trary . The claim of its authorship for Claude Gou dim el is

n n equally u substa tial . Gou dim el was the greatest musician of his age in

n n n n n Fra ce . Re ou ci g the Roma Catholic faith, he

a n and n bec me a Protesta t ; was massacred at Lyo s, at

e in in 1 572 the tim Of the Bartholomew atrocity Paris , .

‘ It w a s n com osin n to , say historia s , his p g Of tu es Marot

’ and n n n Beza s psalms, which i ce sed the Roma parti * n him ' his and . sa s, cost life

com osin tu nes not n n or But, by p g was mea t frami g

o n n n or comp si g melodies . It mea t the composi g put

n in. n n o f n ti g together, the Lati se se the word, certai

dimel r . Gou parts to melodies already f amed This, did ;

and sha me u ll . He was brutally dragged from his house , f y treated

n w as O ff and n R n . At le gth his head cut , cast i to the ho e 3 0 U PsAL n THE OLD H NDREDTH TUNE .

in 1 565 for , he published, at Paris , the whole of the

n in n n in tu es the Ge eva Psalter, set four But

n s n n n the tu e themselves had bee exta t , for more tha

n n twe ty years ; as is attested by a preface, writte by

n hi one n a ms Calvi mself, to editio Of the ps l , dated

n 1 0 1 543 n s ms w ith Ju e , , wherei it is said, all the p al , their music n ﬁ n , were pri ted the rst time at Ge eva .

n n Gou di m el As there is good reaso to co clude, that became a Protestant not more than ten years before he

n n un n to published his parts to the Ge eva t es , it is ext impossible that he coul d have had any han d in the

’ n O f dim l n . Gou e s frami g the tu es themselves Besides , harmonies were composed for the use of the Fren ch

n and n i n Protesta t churches , were ever adm tted i to the

n H nc f n n . e e no nn O Ge eva , there is ma er evide ce to show that G ou dimd w as the composer o f our Old

n l n as com ose Hu dredth Psa m Tu e , except so far to p p a r ts to it ; which w as the pleasant task o f many a

n in mi has n musicia after times . The stake bee occa sioned n n n of com osed by a wro g i terpretatio the word p , and is precisely o f that sort which has been so com ’ m c nl y made with respect to the tunes in R av enscr oft s

n com osed them Psalter . The perso s who , as he says , p , i nto a r ts not O f n n p , were the framers the tu es , for ma y of t hose tunes were framed before the composers of

n the harmo y to them were born .

ll a n as With regard to Wi i m Fra c , there is clear evi

n c an s n n n de ce as rea o ably be dema ded, that the tu e is

C t o n in E n n A opy of this work , supposed be u ique , at least gla d , in ses on M W n n n a n ni in L on is the pos si of r . arre , well k ow as orga st

don and an n n . , editor of ma y publicatio s THE OLD HUNDREDTH PSALM TUNE. 3 1

— at . his , least that he is its fairly reputed author

n n u n Franc himself was no great musicia . His ame is

n n as nn n in k ow to fame , except co ected with the tu es

n n n in the Ge eva Psalter . But as his task co sisted

n n n frami g simple melodies , without cari g for origi ality or n n l n labori g at harmo y , his ski l might have bee equal to his task .

n and n ns am Both Dr . Bur ey Sir Joh Hawki adduce

o n ple pr of, that Fra c was the composer, or at least the

of set and compiler, the melodies which were to Marot ’

n O f . Beza s versio the Psalms Both , also , state that

f ﬁ in n Beza himsel testi ed the fact, a formal docume t 2 1 552 n ow n n and . . sig ed with his ha d, dated Nov ,

an di n n a They further state, that e tio Of the Ge ev

ms w a s n in 1 564 n Psal pri ted , with the ame of Guil ” n a of al n laume Fra c, as the uthor the music otes to

and n o f at them , with the lice se the local magistrate

’ n n n n n testi g Fra c s authorship . Co seque tly, if Fra c

n i n was the author of the tu es , as th s evide ce proves him and our n n to be, if Old Hu dredth was amo g them ,

n dl n in all n n as u doubte y it was , the , fair ess, must Fra c

n be regarded as the author Of that tu e .

i n n St ll a partisa may plead, that , although Fra c may

n n n o t nec es be the author Of the tu es ge erally, it does sar il y follow that he composed every one Of them ; or

al n in n now ﬁ n that , though the tu e questio is rst fou d in n n P as n the Ge eva salter, yet , Germa y was the

n - n pare t school Of psalmody, it may have bee formed

and f n n there , a terwards have fou d its way to Ge eva , w an fa c n n ithout y record Of the t bei g exta t . 3 2 THE OLD HUNDREDTH PSALM TUNE .

n But if such pleadi g as this be admitted, the best

n evide c e will cease to be respected .

e n to It may be allowabl , though hardly ecessary,

n in 1 621 n add, that had Rave scroft, , regarded the tu e

of r n n as Ge ma productio , he , doubtless , would have said so ' for he is remarkably precise in mentioning not the personal but the national or provincial origin * Of the tunes in his Psalter . But as he expressly called “ ” i e n n n . in n it A Fre ch Tu e, ( . , pri ted the Fre ch

and no one or n Psalter, ) as before him, for more tha a

n n n ce tury after him, said otherwise , co siste cy requires

an of n . not n n the accept ce his testimo y It is u importa t,

' Mr ' n in n c en also , that . ollma , who , early the prese t

n n i n n n tury, harmo ized the tu e a hu dred differe t ways,

n n n v i was fra k e ough, though a Germa , to a ow his bel ef in its Genevan origin . But though the authorship of the tune must be as

n n n n sig ed to Fra c, it is still a questio how far the tu e

n n itself is an origi al compositio .

T H E HYPOTHESIS which the writer O f these pageshas to substantiate goes to show that the tune is rather a

r a me ta l om i la ti on than a n or i ina l com osition f g n c p g p . Whether the surmise O f such fact has ever occurred to an o ne o r an y else , whether y attempt to illustrate it

f n n b n no n o . has ever ee made, he has mea s ascertai i g

n n an n in Certai ly , he ever met with y allusio to it, the

n course Of his readi g .

n a da ta tion It has already bee remarked, that p was

’ ’ “ See the preface to the author s reprint of R avenscr oft s W hole ” lmes N o ello n Psa . v n Booke of , Lo do .

T H E O L D HUNDREDTH PSALM TUNE .

In 22 . n n page Of Book III , the third strai is fou d,

n n and in 4 eve to ide tity, is , also , observable page .

h is- u b l a C r to j en te c .

The same may be said Of the fourth strain compared

i 6 and 26 of w th pages the same Book .

- ti nee c e l e br i - di Mar plau te .

SO n n ﬁr in in n commo , i deed, is the st stra , that , eve

ou r ow n n h . E glish psalter, it occurs t ree times It

n and - comme ces the third psalm, the sixty eighth ; * ﬁ n o f -ﬁ r while it forms the fth strai the sixty st . It

n f N f in ﬁ o o . 7 orms, also , triple measure , the rst strai , ’ h l nd N O 63 in in n C or a esan e a . Sebastia Bach s g g , Of ’ “ T o e l er s n p Alte Choral Melodie , where that Number ’ ”

1 550 In “ AD . is dated . Hall s Courte Of Vertue ,

’ 1 565 n n , (Douce s Collectio , Bodleia Library , ) the whole Of the former half Of the tune is set as the “ former half o f A D itie to be sung o f Musicians in the ’ M or n n or or y g , at thyr Lord Master s door, els where ” In u se of ﬁ n . Of hym to be heard a word, the the rst

n n strai is so commo , that it would be troublesome to

enumerate all the known instances .

n n n n The seco d strai Of the tu e , which also stro gly

n t o ﬁ and the n n Si gular, also , say, both the rst seco d strai form

h n - t he commencement of a rather long tune to t e seve ty eighth psalm i ’ 15 63 t n Day s Psalter of , though that Psal er , as before stated , does mot contain the O ld Hundredth tune itself. T H E O L D HUNDREDTH PSAL M TUNE . 3 5

n ﬁ n n resembles the mediatio of the rst Gregoria To e , is

n in m mm n fou d the third psal Of our co o psalters. The use Of the ﬁr st strain Of the tune by so many compos

and n i in ers , eve by Luther h mself, the melody before

a al n quoted, proves that the e rly framers Of ps m tu es were accustomed to consider certain stock phrases as

n commo property, to be employed as might best suit their purpose .

f n s and n be A ter these stateme t , the almost u iversal

ih n n n al n of n mi lief the Co ti e t origi the tu e , it ght seem superﬂuous to notice the home claim whi ch has

in dl n . l bee set up for it Such claim is , itse f, har y worthy of attention ; but the character and position of

n S an d str enu the i dividual who eriously believed it ,

ou sl alm o c din en y advocated it , ost f r es a recor g p to

make some remark upon it . In cons equence Of Ravenscroft having preﬁxed the

n O f n D oul and n n z ame Joh to the tu e , as the harmo i er

D oul and h n as n . Of it , bee co sidered its author The erroneous notion seems to have taken its rise fr Om f O f Pe u sch n some vague remarks Dr . p ﬁ about the begi

nin s n u D oul and g Of the la t ce tury . The s rmise that was the composer of the tun e spread among the editors Of the many local collections Of tun es of the ensuin g

n n f n . . n n O ge eratio At le gth the Rev. W Bowles, Ca o “ u in n n o f ll Salisb ry, his i teresti g History Bremhi ,

206 u mi and (page , advocated the s r se, detailed

n o hi ma y arguments in support f it . The process w ch

it ’ Those remarks had reference to the comp osit io n (y the t u ne i nto ” a r ts D oul and u s e o com osit ion in old p , by ; but the of the w rd p , its

n n . se se , misled moder ears 3 6 THE OLD HUNDREDTH PSALM TUNE .

the n and di n estimable poet, historia , vi e thought ﬁt to

ll — n n fo ow, is this Co sideri g that there is no authority

n u n t n for attributi g the t e to Lu her, he e deavored to “ ”

n n . n prove that it is origi ally E glish The tu e , he

n n O f argues , so exactly suits the acce tuatio the ﬁr st

o u r ndr m O l d n verse Of hu edth psal , versio , that it must

n In have bee composed to those words . an old book of hi s ow n O f not n , the title which is give , the worthy Canon foun d the name Of John D oul and at the head of

n . n al di s the tu e Rave scroft, so , as he thought he had

s n it in n n covered, as ig ed to that em e t musicia . But “ ” “ t u n af er , as Mr . Bowles s pposes, Rave scroft pub ’ lished D oul and s in n the air as , he saw it a Fre ch book of al s and fﬁ n mi n n r e ps m , , without su cie t exa atio , tracted in the in dex what he had advanced in the body hi ” of s work . (p . This is the sum Of a rather

n n fﬁ lo g argume t . A breath would su ce to demolish it , but the deserved repute Of the pleader Of it requires a

n n little more formality i its annihilatio .

man l n n is n ul . It si g ar that a ike Mr Ca o Bowles ,

ul sho d have so slurred over facts , which he was per

nis fectl n n . u y compete t to i vestigate He f r hes, how

n O f n n ever, a other proof what has bee so Ofte proved ,

n n not al that a superior mi d without a special tur , is

n ways equal to every task . Had the poet bee more

n l dl has of a musicia , he cou d har y have failed , as he , i in handling a point of musical h story . A very easy

n an of Ol d al u n gla ce at y the ps ters , which m st have bee wi n ul fﬁ c onvm c e thi his reach , wo d have su ced to him that his argument about the accentuation O f the words w as and l e but a mere cobweb , that it was far more ik ly THE OLD HUNDREDTH PSALM TUNE . 3 7

n n n that the words were writte to the tu e , tha that the tune was composed for the words ; especially as there are many tunes of the same metre in the foreign psal

n one o f in ow n old ters, but o ly this set words our psalter . “ The assertion that Ravenscroft retracted in his ” n n in i dex what he had adva ced his book, is altogether

ﬂ m In n n at . u i telligible, except as a istake the book, “ n n — n n Rave scroft headed the tu e thus Fre ch Tu e , ” D ou l and n d in n . a J , Doctor Of Music , , the i dex, he “ n n 50 no wrote , Fre ch To es , Psalm , There is

nn of a n an n ma er retr ctio here , but iteratio of the same “ ” n n n or n n thi g ; for, by Fre ch Tu e To e , Rave scroft expressed his belief as to the national origin of the

’ n and r eﬁxin D ouland s n tu e itself ; , by p g ame , told the

n it not . world that he harmo ized , that he composed it

n n This is sheer fact, because Rave scroft twice pri ted

n in n . ow n n and the tu e his book, o ce with his ame, ’ n D o ul and s ﬁ n o ce with pre xed to it, merely to i dicate

n n n where parts were the set to it . He ce , accordi g to ’ n n n n n the revere d Ca o s argume t , Rave scroft is as fairly

n of n e titled to be called the author the tu e , as is Dow

n su ch an land himself. It is stra ge that oversight

n n n should have bee made , especially as Sir Joh Hawki s

n n . had lo g ago , by a ticipation, corrected it

all n and But , apart from argume ts surmises, it is

n D oul and not of n plai fact that was the author the tu e , for n in 1 562 and n n in he was bor , the tu e was pri ted

n n i 1 5 1 a n n 6 . E glish psalter, at Ge eva,

T H E n HARMONY which used to be set to the tu e , was N 3 8 THE OLD HU DREDTH PSALM TUNE . far more varied an d elaborate than any which is now

dl n o f n n n used . Har y a compa y si gers c a now be fou d

n n n in h n one who si g the tu e , as to its harmo y, more t a

our way ; whereas, forefathers were accustomed to har

n s and n in n mo iz si g it ma y ways . The date of the o rigin of the practice of harmonizin g

m al m n the si ple ps m elodies , was mistake both by Dr .

n n n n n Bur ey a d Sir Joh Hawki s . Those historia s state that the tunes in the English psalter were ﬁr st barmo

niz ed ill n in 1 579. by W iam Damo , They made the statement in complete u nconsciousness of the Brazen 1 563 Nose Psalter Of , which is the more remarkable , as the version of the Old Hundredth in tha t p salter was

n in n repri ted subseque t manuals . The practice in question originated in the laudable

k n desire to make that which was good of its i d, better i and n . l more satisfactory its results Cu tivated ears ,

hi n n not w ch had bee accustomed to harmo y , were

ﬁ n n likely to be satis ed with a mere air, su g at o ce by

n n all sorts of voices . Masters were soo fou d for cloth in g wi th ornamental harmony the naked melodies O f

n in the times . The practice speedily became ge eral

n n and E n all the churches o f the Reformatio . Fra ce g land vied with Germany in providi n g harmoni c embel

n us n li shm ents for all the tu es which were ually su g .

n n in nn But the , that provisio was made a ma er which

dif n now m n though feri g greatly from what is co mo , was admirably adapted to favor popul ar usage without

F r r n n n . o i terferi g with it , the ha mo ists Of the day contrived to let the people sing in unison as fully an d

' ' as the l eased and n n as lustily y p , yet or ame ted their THE OLD HUNDREDTH PSALM TUNE . 3 9

n n n n s si gi g by composi g disti ct parts for select voice ,

n n n of or n and l i depe de t the melody tu e , yet beautifu ly

n . n n agreei g with it He ce the Old Hu dredth , like

ol d n w as ni z an d n in other tu es , harmo ed su g a totally dif n fere t way to what we are accustomed to hear it . Instead of the air or tune bein g sun g as the uppermost

an d part , by treble voices, all the other parts set below

w as n it , the practice to make it a middle part , the te or “ a s n n as we call it , but The Plai So g , our forefathers “ ” n hil n n amed it . W e , therefore, the great co gregatio

an n and n r n n s g the plai simple tu e , t ai ed voices sa g

n z In other parts which harmo i ed with it . fact , these trained voices served as a sort of vocal accompaniment “ ” n n no to the plai so g, especially where there was

n organ or other instrume ts . This sort of sin ging gave opportuni ty for consider

ul one n able variety to the skilf choir , because tu e used

n in a to be harmo ized sever l ways , by either the same

ni n harmo st , or by other masters . It is evide t , as a

of hil n matter history, that w e the people sa g but few

n al n n ff n tu es , the chor compa ies had ma y di ere t aecom

anim ents . n p to each Thus , if the people sa g the Old

n n in n Hu dredth for three Su days successio , the choir

n in di f n n ot might si g their parts three fere t ways , for

nl n In m an o y three but ma y ways were extant . this

The ordinary mode in which the tune is now harmo niz ed in E ng n it in n n s n n ff . A la d , has bee justly ce sured for mo oto ous e ect ccord g t ini and n n n in to tha mode the tial termi al ote of each strai , except g 111 n one n n n n o ly i sta ce , is set to the to al harmo y . The old masters I n studiously avoided such same ness . n the Appendix a specime will be given of the mode in which the tun e is harmo niz ed after a better

' i n and it n i s n n . fa h o , as is su g ma y churches besides the author s 40 THE OLD HUNDREDTH PSALM TUNE . ner new n n an , a character could be freque tly give to old tune ; for n othing is more common than for O ld collections to furnish two or three versions o f varied “ n n n na ﬁ an o e . harmo y to tu e The ordi ry pre x is , ” of n or n o f other the same , with the ame i itials the

n of of mu author . It was this compositio parts which sicians and n were ambitious, to which they were mai ly

n n of a xious to attach their ames . Oversight this fact has led many an editor o f collections o f psalm tunes into the error of putting the name Of a harmonist for

o f of that the framer a melody . Of the many harmonized versions of the Old H u n dr edth n n n tu e , to which earlier choirs had access, o e seems to have been more generally used than that of

’ n ﬁ n in of 1 563 W . Parso s , rst pri ted Day s Psalter , at

n n n n least, o e seems to have bee more ge erally selected, b n n ysucceedi g editors , for republicatio . This is the oldest known specimen O f English harmonization Of the

n and an tu e , is perhaps equal to y which was produced in n ' a y other quarter and at any other date . It is thus

T H E O L D 42 HUNDREDTH PSALM TUNE .

Another method of harmonization was occasionally

adopted at a very early period . It consisted in turn ing some short phrase of the tun e into a subject for a little fugue and yet so ingeniously ordered as to be perfectly easy for the congregation to follow their o w n

n n f f . o o n part I sta ces this sort compositio , which was “ ” ’ In in of 1 563 called Reports , occur Day s Psalter , bu t the author n ever saw a specimen o f the Old H u n

’ dr edth i . n s so treated Neither is there , Day Psalter, “ ” n of in of n of A other the Same , as the case ma y the

n tu es .

T H E in n now n n TIME which the tu e is su g, fur ishes an instance of alteration as remarkable as any in its eu

n and tire history . Origi ally, till a comparatively late

n w as and period, the tu e regarded as the liveliest

in most cheerful the whole Psalter . ’ O n n of and n the publicatio Tate Brady s New Versio , the Old Hundredth Psalm T une was singled o u t as a “ ” n of and n model tu e for Psalms praise cheerful ess . “ As such it is still recognized in the Directions c on ” n n n n end o f n n cer i g Tu es, pri ted at the eve some rece t

n n n editio s of that Versio . But time , which cha ges so

n n n n n in ma y thi gs , has wit essed a stra ge alteratio the

ﬂ n t nt I n n n set . a collectio of Church Tu es , chie y for i s rume s this

- t n M . volume , also , the air or tu e was the highest par ; but why r Alison omitted to insert the Old Hundredth Tune is as difﬁ cult t o conjecture as the fact itself is singular . I n R ep or ts seems to have meant a br ing ing ba ck of a musical in n n r e or to and phrase the way of a swer (from the Lati p ), so to have b n n n w r iti n i n u u e n ee a other expressio for g f g , which is the followi g n t n or answering of o e par by a other . THE OLD HUNDREDTH PSALM TUNE . 43

n n n n of n mode of si gi g this tu e . I stead bei g regarded

and n n n as a joyous a imati g melody, it is recko ed a

nd n n a n n . n n solem , eve a fu eral strai It co seque tly is no n n in and lo ger su g a spirited sprightly style , but

' doled forth with the utmost length of syllabic utter

n . n to o n n b e a ce So i veterate , , has this si gular cha ge

not n n come , that eve the extremely jubila t character of n fﬁ n n the Hu dredth Psalm itself, is su cie t to awake

n n n atte tion to the a omaly . Though choirs a d other

n old of si gers are familiar with the title the Psalm , “ ” “ Ju bi la te and n n o Deo , repeat its tra slatio , O be j y ” u l in in n n of o ur f the Lord , the Mor i g Service

n n n n Church , they, evertheless, fail to see the i co siste cy

' of n n n n i n w si gi g the tu e to its metrical versio , a dra l i n and nn . n n n g sleepy ma er Not eve , whe usi g either

ol d new n and e n n the or versio , rep ati g li es, which call on n in n all the dwellers upo earth to rejoice praisi g,

n and n laudi g, blessi g Jehovah , do they perceive the incongruity but continue to sing those lines with the same sleepy slowness as they would sing a dirge in a

- n n of n n grave yard . I deed, were a compa y moder si g ers requested to choose some very sober tune to suit

n n n h some very solem lo g metre hym , the c oice would

n n inevitably fall on this liveliest of all the a cient tu es .

n of n n The reaso this perversio may, perhaps, be fou d, now - a - in n n days at least, the very a tiquity of the tu e itself. It has become a popular notion that all old

n n tu es must be sung in proportio ably slow time . How

n and na n n grou dless i ccurate this otio is, there would

no fh be great difﬁculty in proving at large . It is su cient to state that in the year 1 621 , Thomas Ravens 44 THE OLD HUNDREDTH PSALM TUNE .

l of croft , the great orac e for this species church music , “ di Psalmes of R e o cin n rected, That j y g be su g with a

and a sw i t a nd ocu nd me r asu e. louder voice , f j This, no in n n the doubt, was accorda ce with what had bee

m n n custo of the Elizabetha age ; for, u less such cus

how o u r tom had existed , were forefathers to get

or n n through twelve sixtee verses , the usual partitio of the longer psalms

n n of his Eve Dr . Isaac Watts , who composed ma y ” Imitations of the Psalms of David to suit the meas u r e of ﬁne n our old church tu es, remarked , about the ’ “ dl of n of mid e the last ce tury, that If the method singing were but reformed to a gr ea ter sp eed of pro

' nunciatio n n n o f , we might ofte e joy the pleasure a

n t ‘ n o f and lo ger psalm , wi h less expe se time breath ; and our psalmody would mor e agr eea ble to tha t of ‘ be ’ the a ncient chur ches n and , more i telligible to others , ” delightful to ourselves .

O F FACTS AND IN CID E N T s concerning this celebrated

n no tu e , the author has large store what he possesses shall be detailed

In 1 620 n n a T he most r a ve , Sir Joh De ham c lled it g ” ” d r a ce u l o t es a n un . g f f By the term grave , we must

n n n in n u dersta d him to mea , what his day it ge erally

b r tem r te de ou t n so e e a v . mea t , , p ,

in n n Such , its structure , the tu e certai ly is ; for .

O ur n O n n n n n t een seco d rdi atio Hym co tai sﬁf verses , which were n n n a nd to be su g a tipho ally by the bishops the priests , with others ’ now w - n n n it n . prese t Tallis s ell k ow Tu e , which was composed for , n n admirably suited its a tipho al structure . L D T H E O HUNDREDTH PSALM TUNE . 45

and n n n v ehe though cheerful a imated , there is othi g

n n in an o f me t , impetuous , or particularly stirri g, y its

n n n strai s . As to graceful ess, few tu es surpass it , espe ’ i ll in ﬂo o f n n c a y the easy w its origi al form . Sir Joh s remark may be considered a proof o f the hi gh repute

f n in o . , the tu e his comparatively early day It is , the n i n in o ly test mo y to that repute , that day , with which

n the author is acquai ted . 0 1 76 . n About the year , Dr William Hayes , the the

of in U n f in Professor Music the iversity of Ox ord , set str u mental n n n nn accompa ime ts to the tu e , for a ual ’ performan ce at the Festival of the Sons of the Clergy ’ * in n n and f nﬁ St . Paul s , Lo do , at the Radcli fe I rmary

’ nd n n in a U . t . iversi y Commemoratio , St Mary s , Oxford

n n oboies n The arra geme t was for two , bassoo , two ll n and V n . violi s, viola iolo ce o After a prelude of

n r in n n n twe ty measu es , which the wi d i strume ts are partially di stinct in their parts from the stringed in str u m ents n n n a c c om a , the latter co duct the or ame tal p

im n n n e t . , while the former sustai the vocal parts

n of n Compared with the fugal treatme t other tu es , by ’ i and n . . n n Bach Ri k , Dr W Hayes s accompa me ts to the Old Hundredth Psalm Tun e are not particularly inter

The Doctor always went t o London t o superintend the perform d n n son an . n o a ce . His successor, Dr Philip Hayes, also co ti ued to g , n in 1797 i n in to almost eve the day of his death ; for , wh le dressi g n n n on nin 1 0th M Lo do for the occasio , the mor g of arch , he was

z n n . sei ed with ill ess , which speedily termi ated his life He was by far the most corpulent m an in E ngland ; and always booked one ’ n Bobar t s n n n whole half of the i side of coach to Lo do . As his getti g n no fﬁ n i to the coach was a task of little di culty, a crowd of frie ds u n hi n and ga z ers us ally assembled to wit ess s departure . Si ce his ’ his n n un not n . death , father s accompa ime ts to the t e have bee used 46 T H E OLD HUNDREDTH PSALM TUNE .

n or . esti g erudite He has, too , departed from the

and of n n in or older better style harmo izatio , two three

n n nn n of n i sta ces ; though at the begi i g the third strai ,

v n n n he has a oided a recurre ce to the to al harmo y, as

of n an of well as, at the close the tu e itself, y use the 2 before the 3.

n of in 1 791 At the Festival of the So s the Clergy , ’ n n n n of n n n Hayd was prese t . The si gi g Jo es s U iso

n in and of n Cha t D , especially the Old Hu dredth , by no t n u n much less tha six tho sa d voices, gave him , as “ he said, the greatest pleasure he ever derived from ” n f ff of nu m ' the performa ce o music . The e ect such a

of n n fﬁ n n n ber u iso trebles, with just su cie t i strume ta

n in n su erl a tio to support them , was, his estimatio , p tiv el n ﬁ n and n In y mag i ce t altogether u paralleled . ’ n in n of . fact, the performa ce the tu e St Paul s Cathe

not n n n in ar tic dral is o ly si gularly sple did itself, but p ul ar l n y attractive to foreig ers . At the Festival of

1 851 n n n , the emi e t , though perhaps ecce tric, Berlioz,

n of n n and no n n the frie d Me delssoh , i co siderable com

n poser, was prese t . He wrote a somewhat Spirited

n n n r e accou t o f what he heard a d saw . The followi g “ marks occur in the course of it ' After a chord on

n ﬁ n n n the orga , the rst psalm su g by this u precede ted

in n un n choir, arose giga tic iso ,

t t on t All people ha ear h do dwell , ’ Sing to the Lord with cheerful voice '

ou an of ff To attempt to give y idea the e ect, would

in and be utterly useless . Compared power beauty to the most massive musical combinations that yo u ever 4 THE OLD HUNDREDTH PSALM TUNE . 7

’

. n n o of heard, it is as St Paul s at Lo do t the church

’ Ville cl ur a and n A . g , a hu dred times greater I should

n in n add, that this Hu dredth Psalm , which is slow otes , and n n of a gra d character, was supported by the orga

i n n . I a s (played by Mr . Goss) superb harmo ies w greatly

and n n surprised pleased to lear that the melody , lo g

Gou di mel llf a itr e de attributed to Luther, is by Claude ,

lle n in n n Cha e . p at Lyo s , the sixtee th ce tury It was ” ﬁrst printed at Geneva in 1 543 This remark about

Gou dim el of n not n , as the composer the tu e , is o ly

m en suicidal , but illustrative of the facility with which of n n Go u dim el scie ce fall i to historical mistakes . If “ ” M aitr e dc Cha elle n not was p at Lyo s , it is very likely that he would then and there compose a psalm

n n n n n tu e for a Protesta t Co ve ticle at Ge eva . The fact

l n Go u dim el in 1 543 is, as a ready show , that , , was a

n in n and n Roma Catholic Fra ce , far e ough removed

n n in nn n n from bei g a Protesta t co ectio with Ge eva .

nn n n of an It ca ot be the least i teresti g fact y, which

n n may be told respecti g the Old Hu dredth , that it

ﬁ n n n c on was the rst tu e ever su g at divi e service ,

n in ' n ducted by a clergyma , New eala d . The fact is

n in . detailed the Missio ary Visits of the Rev. S Mars

d en n . n n n to that cou try Whe chaplai at Bota y Bay ,

n n - man ' n that emi e tly devoted sailed to New eala d, as

n f n n ndi n on the pio eer o missio ary exertio s . His la g the

n n n Isla d, for the purpose of meeti g some E glish resi

n and n n di n de ts certai ative chiefs, at vi e worship , “ is thus described by himself ' O n the morning of ’ 1 81 4 t en Christmas Day, , about o clock, we prepared to

ﬁ a go ashore , to publish , for the rst time , the gl d T H E L 48 OLD HUNDREDTH PSA M TUN E .

n of . n n W an ar va tidi gs the Gospel Whe we la ded at g ,

n ' - D u att er r a and Shun hee we fou d oro koro , , g , dressed in n a n n regime t ls , which the gover or had give them , and ready wi th their m en drawn up to be marched

n into the i closure to atten d di vine service . The inhab

itants o f n n and n a nd the tow , with some wome childre ,

a n o f n . umber chiefs , formed a circle rou d the whole

A very solemn silence prevailed . The sight was truly

I r ose u a nd be a n the ser vice w ith sin impressive . p g g i n the Old H u ndr edth Psa lm a nd elt m ver sou l g , f y y melt ithi n 7728 hen I iew ed m con r e a tion w w v . , g g g

n n n After readi g the service , duri g which the atives

and n n stood up sat dow , as directed by the Europea s ,

m ' I preached fro LU E , ii .

n n in a nd il A clerical frie d , ve erable years , well sk led in nds in ' sweet sou , says thus , a letter to the author “

. a t n Dr Whitaker, the Rector Blackbur , told me

in n n n - n o ne of t en that , layi g the fou datio sto e of his

o u t district churches , all reared by himself, he gave the g lor ious Old H u ndr edth when it was sung by a

n chorus of some t en thousa nd Lancastria s. Now these

n n n c i n La castria s , appare tly by musi al trad tio from the

o f n ar e n of n ﬁ days 'uee Bess , all si gers a scie ti c sort ; so that the chorus of t en thousan d was not a mingled

in n n a n ﬁ n o f n scream u iso , but a m g i ce t burst harmo y in all ul r in k n the four reg ar pa ts , each s ger ta i g the part hi n ﬂ which suited s voice . I would have give a tri e to ” hear it . 1 825 f In . ar o the year , Dr Edw d Hodges , formerly

an d now o u r n n of Y Bristol , , to atio al loss , New ork ,

n n a s n in n i troduced the tu e, a te or part , a sple did

5 0 THE OLD HUNDREDTH PSALM TUNE.

w as ll - . n we timed, for Mr Adams well k ew that no where is psalmody so disgraced by the freaks an d fan c n - t n s s in an d ies of pia o for e orga i t , as it is about the

* ' s n metropoli . Judgi g fr om the multitudinous manuals o f psa lmody which ar e to be met with in all the larger or s n r of n n als more fa hio able dist icts Lo do , it would o

i ul s o f seem that those who comp le them , are em ou little else than of introducin g a. style of tune as much op

of n as an n posed to that the Old Hu dredth , Italia villa c an al be to a Gothic cathedr But elsewhere , there

ndi ca ns of i i n an d are i tio h gh mproveme t , of a well tempered determinati on to carry it on May it a d

n ediﬁ cation o f shi s and va ce to the wor pper , to the glory of the Triun e God '

In n his i s closi g t brief h story, the author wi hes it to be distin ctly un derstood that he lays n o claim to origin ality in attr ibuting the Old Hun dr edth Psalm Tun e to

n of n . s in n Fra c Ge eva Other author have, a ge eral

a n n at way , ttributed it to him , but o e , it seems , have

‘1’ n n lon n n Lo do has g bee otorious for a bad style of psalmody , both

s t a ni a nd n in . in wi h org ts si gers , its parish churches Scream g char

- en and n n the n in e ity childr , oisy orga ists , were ba e of div e servic to an x n i s en such e te t , that B shop Porteu , at the close of the last c tury,

a eﬁ or t s n vi . n made s lutary for correcti g the e l But , eve so early as “ nnin h n i vi n ou t n it the begi g of t at ce tury, the mode of g g a tu e , as l s ss in ni the was ca led , di covered the worst po ible taste the orga sts of n n e the the l day, as a publicatio of Da iel Purc ll ( brother of il ustrious a Henr y) rem ains to prove . It seems as though the utmost pai ns were taken to disgui se the melody by all sort s of harpsichord ﬂour ish d s an n n . es , meretriciou or ame ts

“ T h e s l s set u th e O n a r si c rd as a e in P a m f ll for rga or H p ho , they are pl y d c ch s an d ch a el s in th e a nn i n as s i h i i n s hur e pp , m er g ve out ; al o w th t e r terlude ’ i r l a a ni s H ol a r i Mr . n c . n s of gre t va ety, by Da el Pu e l, l te Org t of St A drew , ' bo urn . 5 THE OLD HUNDREDTH PSALM TUNE . 1 t of in empted to secure the fame it for him, by show g

nn n an one that it ca ot, with fair ess, be attributed to y else . n From what has bee adduced, it is hoped that the vexa ta u oesti o of n g as to the authorship the tu e , may

n now be regarded as fairly settled . There is o evi dence that it originated with either Luther or Goudi mel ; but there is reasonable proof that it did originate with Franc . The only claim to originality which the writer of

n u n n on these pages ve t res to adva ce , is grou ded the discovery of the sources fr om whence Franc derived

hr the phrases of the tune . Those p ases are so palpa ’ n n n n of n bly Gregoria , that Fra c s co structio the tu e

n n can be regarded only as a fragme tary compilatio .

n n n in Co sidered, the , as Gregoria its texture, the

u n al n n Old H dredth Ps m Tu e is i deed very old, much

nl n n Older than is commo y imagi ed . Its several strai s had been sung by Christian voices not only a thousand

n n years before Luther was bor , but for ce turies before the Papal system was developed .

e in n ne Vi wed this light, the Old tu e assumes a w

n and n n n i terest, its a tique to es vibrate with freshe ed hi impulse . May the fervor with w ch it used to be ’ n n ﬁ n su g at Paul s Cross, soo after its rst importatio

n n n in our i to E gla d , be speedily revived all parish

u ch rches .

S P E C I M E N S

OF T H E

OL D H U N D R E D T H PSAL M T U N E .

I .

’ ” Braz enos a l 1 c . e y s s e . 3 PSALM From the Copy of D P a t r 56 .

W . PARSONS .

II .

’ B svn sici ns in Morn n the r s s A ITIE , to be g of Mu e the y g, at y Lord or Ma ter - ’ c el sw her e him . H AL L s C ur V er hamber door, or , of to be heard From o te of ” tue. 1 565.

T he aunin be ins And ; ci s ineon h e d g day g to glare , Lu fer doth h

i h h s im - ia -l And sa t t at Phebus doth prepare T o shewhim elf me d te y. 4 T H E E 5 OLD HUNDR DTH PSALM TUN E .

’ T he tw o t n s of W A D i V s n. ex a t part ILLI M AMAN S er o 1 579.

I V .

m E L in c i . U D G O U D . is D R OY. PSALM xxx v CLA E Pr ted at Par , by A RIAN LE l s in n sa te B l i n i in 1 565 . n. 1 595 . A o a Germa P l r ( od e a L brary), pr tedat Herbor

’ “ “ Musick B. e. r E sT E s s lte 1 592. J. D O U L AN D F om P a r. , of E THE OLD HUNDREDTH PSALM TU N . 5 5

VI .

’ “ ” “ . m Ps. J. D O U L AN D D oct . . R AVE N SOR O FT S s . 1 21 l oo From P alter 6 , of M

II V .

“ s e. B F V G Y . T u os. R AVE N SOR O FT From the am A PSALM E ORE E ENIN PRA ER , ” B. f o M .

’ B h now i h s ch a s T he s s n s ithf and tr he e old, g ve eed, u be Lord erva t , fa ul T H E O L D 56 HUNDREDTH PSALM TUNE .

is de r ee W ith s c s n s a s H im Come, pra e the Lord, every g , u h o g to are due .

cxxxrv . enc s . n n PSALM From Fr h P alter Ge eva ' 1 627. Leyde ' 1 635. U D CLA E LE JEU NE .

IX .

in D H AR T 1 3 c c s l rin 6 5 . From the S ot h P a ter. P ted at Ed burgh, by AN RO ,

T H E L D 5 8 O HUNDR EDTH PSALM TUNE .

XII .

’ “ ” c PL AYR O R D S W B s lms c s in PSALM . From hole ook of P a , ompo ed three

1 68 . parts. 0

XIII .

’ man sa e i s w l s. cxxxrv. PSALM From a Ger P lt r, Dav d Je e

U 1 03 . C H RIST IA N M LLER . 7 T H E O L D HUN DRE DTH PSALM TU NE . 59

i PU R OE L L c c. ' 1 700. PSALM c . DANIEL , r T H E O L D N AL E 60 HU DREDTH PS M TUN . S E T H E O L D HUND R EDTH P ALM TUN . 61

i n 1 1 . n new V s . 7 0 PSALM c. From the Suppleme t to the er o T HE L D E E 6 2 O HUNDR DTH PSALM TUN .

“ h c . T e B B. and P PR E L PSALM From y SMITH .

1 20. LU ER . 7

V X II .

’ “ cxxx BA H s n . Iv . H B c PSALM From JO N SE ASTIAN O s Choral G c a g Bu h 1730 . T H E O L D E HUNDREDTH PSALM TUN . 63

XVIII .

0 . . V c s . 1740. PSALM Mr A ISON, of New a tle

XIX .

’ “ cxxxrv . V O N U i D r . B R N E Y x . c 4 . U S M u s. E PSALM M LLER C r . 1 7 0 From ” ’ “ ” c s V II T h s in h . e as U B . 1 754 . tra t , ame JOHN DANIEL M LLER S C oral ook B i ish s r t Mu eum. 4 T H E O L D E M N 6 HUNDR DTH PSAL TU E .

i n 0 . R ev. CH E T s O e H AM . 1 4 . PSALM JOHN (York h re) . 7 0

x i n h n n sal . n n c xxIv i t e . 5 an 1 . PSALM . From ed t o of Ge eva P ter Lo do 7 7

T H E L D L 66 O HUNDR EDTH PSA M TUNE .

XXIII .

U N D D s and i c i ns n iff ent THE H RE TH PSALM, from example d re t o for a hu dred d er ’ i f H er s s n a ni s . . ' n s O h rmo e , by A F OLLMAN , orga t Maje ty Germa Chapel, at i i s c 1 802 . St . Jame . C r ter,

SY N COPATION .

XXIV .

r CR O T OH . 1 c i n ld s T n s. D . 803 . PSALM c . Colle t o of O P alm u e ff PEE (JI J) II ILNJDPEEIYTII Iﬁi AI ﬂHI fPEUNI L 67

XXV .

’

0 . J. TL B W B k. ei z i 1 81 PSALM From GOT O ERNER S Choral oo L p g . 5. T H E O L D HUNDREDTH PSALM TU NE .

XXVI .

' ” c . r niz on inci s an i PSALM Ha mo ed the pr ple of the D dy Subl me . AD AMS . 1 83 6 THOMAS . E T H E O L D HUNDREDTH PSALM TUN . 69

XXVII .

’ H H A 43 iz n W . VE R GAL . 1 . in s d. . 8 'U ARTETT Gre ham Pr e A them, by Rev

him sm s ms nu - O f hi s nd s s in n . S g u to , g p al to talkye wo rou work

him sin - him h n in unto s l s nu is s s. S g , g p a m to ; talk ye wo drou work

XXVIII .

“ ” c sa 1 4 . Fr om Old Chur h P lmody. 8 7

S R E MAR ' S ON T H E PE CIME N S.

B 1 4 5 6 8 9 I S 7 . n n NUM ER , , , , , , these seve speci mens the musical Observer has an Opportunity Of com paring the skill and the tact of some of the great

o f n in f l masters harmo y the earlier days o Psa mody .

n n 1 and 4 r A compariso betwee Numbers , the ea liest

n and n n ll ni E glish the earliest Fre ch versio , wi fur sh

n n n u n some curious coi cide ces . It is si g lar that Parso s and Gou dim el shoul d have struck o n so many points in

n c an dl Gou dimel commo , as it har y be supposed that ’ n Par son s n was acquai ted with s compositio . The F penul timate in the second strain of Number 1 was most

’ i n in u m l n as Go di e s . l kely su g sharp , versio This,

n n however, is a poi t Ope to debate .

’ 5 hi n D o l and s w as No . . T s versio of w popular up to the last days of such singing in England The simpli city and easy ﬂow Of its parts rendered it acceptable t o o ur parish choirs .

n 6. n No . Dowla d adopted this versio Of the melody probably in compliance with the wishes o f the Editor

and r n n . his f ie d, Thomas Rave scroft While the varied

n of d style attests his comma d i eas , the more artful text ure of the parts shows his skill as a harmoni st .

In . n N O . 7 this versio Ravenscroft seems to have ' 79 REMAR S ON THE SPECIMENS .

n n n n take Dowla d as his master, as it co tai s palpable

n hi s imitatio s of style . Spite Of faulty consecutives in n the the third strai , the parts, particularly Bass, are

n di elega tly melo c .

8 in . . n n n hi n No This versio , o ly barred moder fas o ,

n n in o f is give by Dr . Bur ey his History Music . It

nl l e proves what was commo y asserted , that Claude

n f Jeune was a great master Of harmo y . It di fers from every other specimen in the rich and masculine turn ’ ﬁ n In ur n nd . B ne s give to the e of the rst strai Dr . y

c n n Musi al Extracts , belo gi g to the British Museum ,

an n n there is abbreviated versio of this tu e , the time

n one n bei g reduced to half of its origi al measure . By

n whom this abbreviatio was made , whether by Claude l n e . n an Jeu e himself, Dr Bur ey, or y other professor,

n l does ot appear . Claude e Jeune composed another

of n and set three parts to the tu e , published them at

nd in 1 608 . n n a so Paris They are at o ce so or ate, yet

n r n loosely put together, that the prese t w iter has ever

in an n ll nn been able to scorethem i te igible ma er .

ﬁ n O f - n n 9. N o . The rst strai this setti g bears a stro g

n ﬁr n O f 4 resembla ce to the st strai Number . The sec ond n n n di n strai , however, co tai s a feature which sti

u ishes . a n g it from all its fellows , viz , modulatio , by

n n n of n n co trary motio , i to the scale the mi or seve th, a

n n n in ol d and n a tra sitio commo music, especially ot ble ’ n in in Orlando Gibbo s s service F .

2 f n n N 1 . O . Play ord i te ded the middle part Of this

n n setting to be su g by either treble or te or voices .

n n in n one The u prepared seve th the fourth strai , is

’ of Pl ayfor d s oversights .

' 74 REMAR S ON THE SPECIMENS . n of n and ll n eighborhood Great Milto , usua y pri ted his

n n of n ow books at home . This versio the tu e is a ’ ’ n of D ow land s in R av enscr oft s vol mere abbreviatio ,

n n n ume . The author, whe very you g, Ofte heard it sung by the Milton choir at the beginning of the pres ent n n n of n n ce tury . It is the o ly specime such si gi g which he remembers ever to have heard . The fall of the treble voice to an oct ave in the beginning Of the

n n and om osit seco d strai , the rustic p p y with which it

an n n on was achieved, made i delible impressio his

n mi d .

T H E E N D .