Anglican Psalmody Vol 1 Program Booklet
PROGRAM
1. Psalm 142 I cried unto the Lord with my voice W. Bayley
2. Psalm 85 Lord, thou art become gracious unto thy land A.S. Hemmings
3. Psalm 120 When I was in trouble, I called upon the Lord W. Sterndale Bennett
4. Psalm 25 Unto, thee, O Lord, will I lift up my soul W. Russell
5. Psalm 61 Hear my crying, O Lord C. H. Lloyd
6. Psalm 132 Lord, remember David G. Elvey
7. Psalm 70 Haste thee, O God to deliver me W. Hine
8. Psalm 130 Out of the deep have I called unto thee, O Lord C. Hylton Stewart
9. Psalm 6 O Lord, rebuke me not in thine indignation T. Purcell
10-11. Psalm 42 and 43 Like as the hart desireth the waterbrooks S. Wesley Give sentence with me, O God
12. Psalm 51 Have mercy upon me, O God, after thy great goodness W. Morley
13. Psalm 49 O hear this, all ye people T.A. Walmisley
14. Psalm 69 Save me, O God C. Hylton Stewart
15. Psalm 137 By the waters of Babylon we sat down and wept C. Hylton Stewart
16. Psalm 102 Hear my prayer, O Lord C. Macpherson
17. Psalm 138 I will give thanks unto thee, O Lord, with my whole heart T. Aylward
18. Psalm 13 How long wilt thou forget me, O Lord; forever? C. Hylton Stewart
19. Psalm 64 Hear my voice, O God, in my prayer H. S. Oakelay (check spelling) 20. Psalm 11 In the Lord put I my trust J. Goss
21. Psalm 32 Blessed is he whose unrighteousness is forgiven J. Jones
Gloriae Dei Cantores Elizabeth C. Patterson, director
David Chalmers and Sharonrose Pfeiffer, organists
Gloriae Dei Cantores paragraph
Church of the Transfiguration paragraph
Program Notes from Fr. Martin
A Note on Anglican Psalmody
The Psalms have been a part of daily worship for well over two thousand years. Gloriae Dei Cantores has chanted the Psalms in worship services for more than thirty years and brings a wealth of experience and devotion to the expression of the Psalms. Having already presented several recordings of Gregorian chant, the choir now turns its attention to the Psalms as expressed through Anglican chant. The present recording, the first of three volumes, presents psalms of salvation and mercy. This brief essay wishes to explore the musical characteristics of the psalms and Anglican chant in particular and how it illuminates the ancient texts. Harmonized chant or Anglican chant as it is now called has its roots in the father of Western music, Gregorian chant. Gregorian chant was the vehicle to express the human feelings of praise, joy, hope, sorrow, pain, trust and love that the Psalms embody. Its flexibility and endless resources of melody provide a vast realm of possibilities of expression. After a thousand years of the chant and the development of harmony and singing in more than one voice, the chant became a rather different breed; indeed by the Renaissance and Baroque eras, the chant had slowed so much so that each note constituted a major event. It was out of this metamorphosis that the first books of psalms was published, mostly set to plainchant (as it was now called) but including some that were harmonized by such famous composers as Thomas Tallis and William Byrd. By the 18th century, the use of plainchant had virtually disappeared and the psalms were sung to harmony with the main melody always in the top voice. As the 19th century opened, we see the first books of Anglican chant published and disseminated throughout churches, further refined as to musical characteristics of melody and harmony and now for the first time, having specific tunes assigned to specific psalms. There now followed many Anglican Psalters with literally hundreds of new tunes for the use of choirs. One can argue that many of the gre