Australian Music Series – MDA015

Three Sacred Works 2 The Lord’s Prayer For Choir and Keyboard Sydney, 1845

Isaac Nathan Canterbury, 1799 – Sydney, 1864

Edited by Richard Divall

Music Archive Monash University Melbourne

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Information about the MAMU series Australian Music And other available works in the free digital series is available at http://artsonline.monash.edu.au/music-archive

This edition may be used free of charge for private performance and study. It may be freely transmitted and copied in electronic or printed form. All rights are reserved for performance, recording, broadcast and publication in any audio format

Copyright 2014 Richard Divall Published by MUSIC ARCHIVE OF MONASH UNIVERSITY Sir Zelman Cowen School of Music Monash University, Victoria, 3800, Australia

ISBN 978-0-9923957-4-2 ISMN 974-0-9—9643-4-2

The edition has been produced with the assistance from the Australian Research Theology Foundation and the Marshall-Hall Trust

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Introduction

Isaac Nathan, musician, journalist and composer was born in Canterbury, England, the son of a Polish Jewish cantor. A pupil of Domenico Corri, who composed the ballad opera on the South Seas, Pitcairn Island, Nathan came to prominence with his publication in 1815 of the two volumes of Hebrew Melodies, set to the poetry of Lord Byron. Financial difficulties caused Nathan to leave England, and he arrived in Sydney in April 1841. There through his self-promotion he became a well-known musical figure in early Sydney. Together with William Vincent Wallace he was the best known musical identity in the early life of the Colony of New South Wales. Nathan worked as a musician at the embryonic St Mary’s Roman Catholic Cathedral, then under the Benedictine Bishop [later Archbishop] John Bede Polding, as well as having an association with St James’ Anglican Church. This church had been commissioned by Governor Lachlan Macquarie in 1820 and designed by Francis Greenway. The first full biography on Nathan was ‘The Hebrew Melodist’ by Catherine Mackerras, published in 1963. Mackerras, was the mother of the great Australian conductor, Sir Charles Mackerras who was also a descendant of Nathan. Nathan is supposed to have written the first opera in Sydney, Don John of Austria, which was presented on 7 May 1847 at the Victoria Theatre, Sydney. A vocal score survives in the Mitchell Library, as well as the complete libretto and dialogue, which is in the Colonial Secretary’s papers in the State Library of NSW. Nathan composed in several genres, songs, sacred music and especially music written about the indigenous inhabitants of the Sydney region, some of the texts set in the native language spoken around Port Jackson. He died in 1864 as the result of an accident on the newly introduced horse drawn tram in Sydney. Very few of his manuscripts survive, presumably because his widow burned them after his untimely death. We now know that Nathan was a prolific writer, commentator and may have been Australia’s first food critic. The Sydney academic, Dr Graham Pont is currently completing a large scale study of the composer’s life and works, including his contributions to Sydney’s journals.

The three sacred works in this series were all composed by Nathan in Sydney. The first, The Lord’s Prayer was published in 1845 and dedicated to the Rt Rev. William Grant Broughton, then the Anglican ‘Lord Bishop of Australia’. It was composed either as a solo for one voice or to be sung in a four part vocal ensemble, accompanied by either pianoforte or organ. The Anthem ‘O Praise the Lord all ye Heathen’ was an arrangement of the anthem of the same text by Henry Purcell (Z43), and reproduced in John Chetham’s A Book of Psalmody, first published in 1717. Nathan ‘revised, corrected and arranged’ the original Purcell and in the style of the time, improved upon the original work, making it into a five part anthem. It was printed in Nathan’s curious book of essays, The Southern Euphrosny and Australian Miscellany which was published in Sydney in 1849. The Names of Christ was issued in 1853, and is a series of verses of music, for six voices and set to poetry by the Rev James Brotherton Laughton of Sydney (1814-1883). It was composed expressly for ‘St James’ and St Mary’s Choral Societies’.

Richard Divall May 2014.

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Oil Portrait of Isaac Nathan – National library of Australia ! 5

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Facsimile of the opening pages of The Lord’s Prayer National Library of Australia.

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CRITICAL NOTES

The Lord’s Prayer The tenor 1 line is written one octave too high, and might be intended to be an alto line, and to be read down an octave. In this edition it has been transposed down an octave and listed for Alto Voice.

ACKNOWLEDGMENTS

I express my deep appreciation to Allan and Maria Myers AO, and to the Rector and Provost of Newman College, The University of Melbourne. This series of sacred music has been facilitated by a grant from the Australian Research Theology Foundation, to whom I am most grateful. Again my thanks to my fellow Trustees of The Marshall-Hall Trust; Lady Primrose Potter AC, Sir James Gobbo AC, Professor John Poynter AO OBE and Associate Professor Thérèse Radic. And especially to Professor Ed Byrne AC, the President and Vice-Chancellor of Monash University, Professor John Griffiths, and to the Head of the Sir Zelman Cowen School of Music, Associate Professor Rob Burke for their support and assistance of this project.

Richard Divall May 2014

The Editor Frà Professor Richard Divall AO OBE is a Vice-Chancellor’s Professorial Fellow at Monash University, an Associate Professor of Music at The University of Melbourne, and Visiting Professor at The University of Malta. He is Chairman of the Marshall-Hall Trust and is a Knight of Malta in Solemn Religious Profession. He was awarded a D.Lett. (Hon Causa) in 1992 by Monash University and Doc. Univ. (Hon Causa) by Australian Catholic University in 2004. He is a PhD in Theology from the University of Divinity on eighteenth-century sacred music on Malta, and an edition of the complete sacred works of Nicolò Isouard (1773-1818), and is an Honorary Research Fellow at the same university. Richard Divall has edited early Australian music since 1967.

The Lord's Prayer Composed for One or Four Voices and Organ & Respectfully Inscribed to the Rt Rev William Grant Broughton DD. Isaac Nathan [1790-1864] Edited by Richard Divall Lord Bishop of Australia - Sydney 1845 For St Mary's Cathedral Choir.

Soprano ° b 6 &b C ∑ ∑ ∑ ∑ 4 ∑ ∑ C Alto b 6 [alt lib Ten I] &b C ∑ ∑ ∑ ∑ 4 ∑ ∑ C

Tenor b 6 &b C ∑ ∑ ∑ ∑ 4 ∑ ∑ C ‹ Bass ? bC ∑ ∑ ∑ ∑ 6 ∑ ∑ C ¢ b 4 œ œ b 6 œ œ &b C Ó ˙ ˙ #˙ œ #œœ œ œ ˙ Ó 4 ˙ œ œ œ #œ œ ˙ œ Œ C Organ or ˙ w œ œ œ œœ ˙ ˙™ ˙ œ œ Pianoforte ˙ œ ™ œ ˙ ? bC Ó ˙ ˙ œ œ œ œ #œ ˙ Ó 6 ˙™ ˙™ ˙ &œ C { b ˙ w w œ œ ˙ 4 ˙™ ˙™ ˙ 7

S. ° b &b C ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

A. b &b C ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

T. b &b C ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‹ B. ? bC ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ b œ Ÿ b œ #œ ˙ œ œ ˙™ œ ˙˙ ˙ œ œ œ œ &b C w œ œ˙ ˙ w œ ˙ #w w œ œ w œ ˙ #˙œ œ ˙ Œ Org. ˙ ˙ ˙ ˙ bbC ?˙ ˙™ w ˙ ˙ ˙ Œ œ & ˙ #˙ ˙ ˙ ˙ nœ w ˙ ˙ ˙ ˙ {15 S. ° b &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

A. b &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

T. b &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‹ B. ? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ b bw˙ œ œ bœ œ œ œ œ œ œ #œ œ #œ ˙ bb œ nw œ ˙ n˙œ œ ˙ Œ œ ˙ ˙œ n˙ Œ œ ˙˙ ˙ ˙ œ ˙ & ˙ ˙ ˙ Org. ? b w w Ó ˙ ˙ ˙ Œ ˙ ˙ b ˙ ˙ ˙ ˙ ˙ ˙ nœ w ˙ { Copyright ©APRA2013 Richard Divall 9 23

S. ° b 6 &b ∑ ∑ Ó ˙ ˙ #˙ Œ #œ œ œ ˙ Ó 4 ˙ œ œ œ #œ Our Fa - ther whichart in Heaven, Hal - lowed be Thy A. bb ∑ ∑ Ó Œ Ó 6 & ˙ ˙ œ œ #œ ˙ 4 ˙ œ ˙ œ Our˙ Fa - ther whichart in Heaven, Hal - lowed be Thy

T. b 6 &b ∑ ∑ Ó ˙ ˙ ˙ Œ œ œ œ ˙ Ó 4 ˙ œ ˙ œ ‹ Our Fa - ther whichart in Heaven, Hal - lowed be Thy B. ? b 6 b ∑ ∑ Ó ˙ ˙ ˙ Œ œ œ œ ˙ Ó 4 ˙ œ ˙ œ ¢ Our Fa - ther whichart in Heaven, Hal - lowed be Thy ˙ ˙ bb ™ #œ ˙™ Œ w 6 ˙ & w ™ w ˙ #˙ ˙ œ #œœ w 4 ˙ œ ˙œ œ #œ Org. w w ˙ œ œ w ˙™ ˙ œ ? 6 bb ˙ ˙ Œ w w œ œ œ 4 ˙™ ˙™ ˙™ w w œ œ w 30

S. {° b ˙ 6 &b ˙™ œ Œ œ C ˙ ˙ Œ œ ˙ ˙ ˙ 4 œ œ ˙ œ name, Thy king - dom come, Thy will be done in˙ earth,˙ as it is in A. b 6 &b Œ C Œ 4 ˙ œ œ ˙ ˙ ˙ œ ˙ ˙ ˙ ˙ ˙ œ œ ˙ œ name,™ Thy king - dom come, Thy will be done in earth, as it is in

T. b 6 &b ˙™ œ Œ œ C ˙ ˙ ˙ Œ œ ˙ ˙ ˙ ˙ 4 ˙ œ œ ˙ œ ‹ name, Thy king - dom come, Thy will be done in earth, as it is in B. ? b Œ C Œ ˙ ˙ ˙ ˙ 6 ˙ œ œ ˙ œ b ˙™ œ œ ˙ ˙ ˙ œ 4 ¢ name, Thy king - dom come, Thy will be done in earth, as it is in œ œ œ bb ˙ œ Œ C ˙ ˙ w w 6 & œ œ w˙ ˙ w w w 4 ˙™ Org. œ w ˙™ ˙™ w ˙ ? b ˙ œ Œ Œ C w w w 6 ˙™ ˙™ b ˙™ œ w w 4 ™

{36 S. ° b œ ˙ œ j œ &b ˙ Ó™ C œ œ œ #œ œ œ #œ ˙ œ ˙ #œ œ œ™ œ œ hea- ven. Give us this dayourdai-ly bread,œ ourdaiœ -ly bread, Andœ for - give us our tres-pas- ses,as

A. b b Ó™ C ˙ œ j & œ ˙ œ #œ œ œ œ ˙ œ œ œ œ œ œ hea- ven. Give us this dayourdaiœ -lyœ bread,œ ourœ daiœ -lyœ bread,˙ And for - give us our tres™-pas- ses,as j T. b ˙ &b œ ˙ Ó™ C ∑ Œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ™ œ œ œ ‹ hea- ven. ourdai-ly bread, ourdai-ly bread, And for - give us our tres-pas- ses,as ˙ B. ? #œ w ˙ œ œ œ œ™ œ œ #œ bb ˙™ Ó™ C ˙ œ#œ œ œ œ œ J ¢ heaven. Give us this dayourdai-ly bread, And for - give us our tres-pas- ses,as bb œ œ Ó C ˙ œ œ œ œ ˙ œ & œ œ œ œ œ #œ œ œ œ œ œ œ #œ ˙ œ˙œ ˙ #œ ˙ ˙ œ œ Org. œ œ œ ˙ œ œ œ œ ˙ ˙ ˙ ˙ œ w w ˙ œ ˙ œ œ ? b ˙™ ˙™ C œ#œ œ œ œ #œ œ #œ { b ˙™ ˙™ ˙ w 10 43 S. ° b œ ˙ œ ˙ œ œ œ ˙ œ œ œ™ œ œ œ &b œ ˙™ ™ J w ˙ Œ J w we for-give them that tres - pass a -gainst us. For- give us our tres-pas-ses as we A. b j j &b #œ ˙ ˙™ œ ˙ œ™ œ w ˙ Œ œ ˙ bœ œ œ™ œ œ bœ ˙ n˙ weœ for-give them that tres - pass a -gainst us. For- give us our tres-pas-ses as we for - T. b œ ˙ ˙™ œ ˙ œ™ œ b˙™ œ ˙ œ œ œ œ ˙ #˙ &b œ J Œ œ ˙ nœ œ ™ J ‹ we for-give them that tres - pass a -gainst us. For- give us our tres-pas-ses as we for - ˙ n˙ œ ˙ œ™ B. ? b œ œ ™ œ nw ˙ b˙ œ œ œ œ w b J ˙ œ œ ™ J ¢ we for-give them that tres - pass a -gainst us. For - give us our tres-pas-ses as we œ w ˙ bb œ œ ˙ w ˙ ˙ w ˙ Œ b˙ œ œ w & œ #œ ˙ ww w b˙w ˙ ˙ œ ˙ ˙ œ bœ ˙ n˙ Org. œ œ ˙ nw ˙™ ˙ n˙ w ˙ #˙ ? b œ œ œ nw ˙ b˙ w w w b nw ˙ 51 ˙ S. {° bb œ œ œ œ ˙ Œ œ œ œ œ œ œ™ œ œœ œ œ™ œ œ œ ˙ ˙ œ œ œ™ œ œ Œ & J J for-give them that tres - pass a- gainst us, as we for-give them that tres -pass a- gainst us. j A. bb Œ œ j ˙ œ œ œ™ Œ & w ˙ ˙ œ œ œ œ œœ œ œ™ œ #˙ ˙ ˙ œ œ give them that tres - pass a- gainst™ us, as we for- give them that tres -pass a- gainst us. œ œ œ T. b œ ˙ œ œ™ œ ˙ ˙ ˙ ˙ ™ #œ œ &b n˙ ˙ ˙ Œ œ ˙ œ œ J J Œ ‹ give them that tres - pass a- gainst us, as we for- give them that tres -pass a- gainst us. B. ˙ œ™ œ ˙ ˙ ?bb œ œ ˙ Œ œ ˙ œ œ ˙ œ œ J ˙ ˙ œ œ ˙ œ Œ ¢ for-give them that tres - pass a- gainst us, as we for- give them that tres -pass a- gainst us.

bb œ œ ˙ ˙™ œ œ œ œ œ w ˙ ˙ ˙ ˙ ww ˙ œ Œ & bw ˙ œ ˙ œ œ w ˙ #˙ ˙ ˙ w ˙ #œ Org. ™ w n˙ ˙ ˙w ˙ ˙ ˙ ?bb w ˙ ˙ ˙ w ˙ ˙ w ˙ œ Œ ˙ ˙ ˙ w ˙ œ

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S. {° b j œ &b ˙™ œ œ #œ œ œ œ™ œ ˙ ˙ œ œ ˙ ˙ ˙ #˙ œ™ œœœ Œ Lead us not in - to temp - ta - tion; but de - li - ver us from e - vil: A. b j &b #œ œ™ #œ ˙ ˙ Œ ˙ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ œ Lead us not in - to temp - ta - tion; but de - li - ver us from e - vil: T. bb ˙ œ œ œ œ œ œ™ œ ˙ ˙ œ œ ˙ ˙ ˙ ˙ œ Œ & œ J œ ˙ ‹ Lead us not in - to temp - ta - tion; but de - li - ver us from e - vil: B. ? b ˙™ œ œ œ œ œ ˙ ˙ ˙ œ #œ ˙ ˙ ˙ Œ b ˙ ˙ œ ¢ Lead us not in - to temp - ta - tion; but de - li - ver us from e - vil: b j &b ˙™ œ œ œ œ œ™ œ ˙ ˙™ œ ˙ ˙ ˙ ˙™ œ ˙ ˙ œ #œœ œ œœ œ™ #œœ˙ ˙™ œ ˙ ˙ ˙ #˙ œœ Org. ˙ œ œ œ œ™ ˙ ˙™ ˙ ˙ ˙ ˙™ ? w w ˙ œ œ #œ ˙ #œ bb œ œ œ ˙ ˙ ˙ ˙™ { w w w w ˙ ˙ w 11

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S. ° b ˙ ˙ œ j j œ j &b Ó Œ œ ˙ ˙ ˙ ˙ Ó ˙ œ œ™ œ œ œ œ ‰ œ œ œ™ œ de - li - ver us from e - vil: For Thine is the king - dom, the pow'r and the A. bb Ó Œ Ó ‰ j & ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ ˙ œ œ deœ - ˙li - nver˙ us from e - vil: For Thine is the king - dom, the pow'r and the T. b j &b Ó Œ œ ˙ ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙ bœ œ ˙ œ ‰ œ ˙ bœ œ ‹ de - li - ver us from e - vil: For Thine is the king - dom, the pow'r and the B. ? b ˙ ˙ ˙ ˙ j b Ó Œ œ ˙ ˙ Ó ˙ ˙ œ œ ˙ œ ‰ œ ˙ œ œ ¢ de - li - ver us from e - vil: For Thine is the king - dom, the pow'r and the bb œ Œ ˙ ˙ ˙ œ œ œ œ œ & ˙œ™ œœ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ œ œ ˙ ˙ ˙ Org. ˙ œ ˙ n˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ? b w ˙w ˙ w ˙ w w ˙ b˙ w ˙ b˙ b w ˙ ˙ ˙ w w w 74

S. ° b {&b œ œ œ œ œ œ œ œ œ œ Ó ˙ ˙ ˙ Ó glo - ry for e - ver and e - ver. A - - men! A. bb Ó Ó & œ œ œ œ ˙ œ œ œ œ w ˙ glo - ry for e - ver and e - ver. A - - men!

T. b œ œ &b ˙ œ œ œ œ œ œ Ó œ ˙™ ˙ Ó ‹ glo - ry for e - ver and e - ver. A - - men! B. œ ?bb ˙ œ œ œ œ œ œ œ Ó ˙ ˙ ˙ Ó ¢ glo - ry for e - ver and e - ver. A - - men! bb œ œ œ œ œ œ Ó ˙ w & œ œ œ œ ˙œ œ œ œ œ ˙ ˙ ˙ w Org. ˙ œ œ ™ w ? ˙ œ œ œ œ œ œ œ ˙ w bb ˙™ œ œ œ œ œ Ó ˙ w

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S. {° b ˙ œ &b Œ ˙ œ Œ #w w ∑ ∑ A - men! A - men! A - men! A. bb Œ Œ ∑ ∑ & ˙ œ ˙ œ w A - men! A - men! A - men!nw

T. b &b ˙ œ Œ ˙ œ Œ w nw ∑ ∑ ‹ A - men! A - men! A - men! ˙ œ B. ? b Œ ˙ Œ w ∑ ∑ b œ w ¢ A - men! A - men! A - men! b ˙ ˙ &b ˙ ˙ w w w ˙ ˙ #w #w Org. ˙ w nw w nw ˙ ˙ ? ˙ ˙ ˙ ˙ bb ˙ w w ˙ œ œ w { ˙ w w w w