The Beatitudes and some thoughts on worshipping.

Flight of steps bearing the words of the Beatitudes. Is the idea to express climbing the mount of the Sermon on the Mount? Wikimedia Commons.

By James Emery from Douglasville, United States – Stairs of MEEI church_1098, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=35132465

The Beatitudes1

Introduction

The version of the Beatitudes from Matt 5 in Book 6 dates from before this site went live in June 2015. Somewhat surprisingly, the only other metrical version of the Beatitudes I have ever managed to find is by Isaac Watts. That one alas is not suitable for modern use2. In Common Worship Daily Prayer (CWDP) it is canticle 53 but their version only includes eight of the Beatitudes. Some parishes that use them in worship have spontaneously adopted the practice of saying them antiphonally, the leader or one side saying the ‘Blesséd are those that …… ‘ and the congregation or the other side responding with the ‘for they shall be ….’.

My version has always included the ninth Beatitude. In its current form, to suit the rhyme and metre, two of the Beatitudes are in the wrong order. The sequence should be, the poor in spirit, those who mourn, the meek, those who hunger and thirst for righteousness, the merciful, the pure in heart, the peacemakers, those who are persecuted for righteousness’ sake, and you when people revile you and persecute you and utter all kinds of evil against you falsely on Jesus’s account. In the current version, though, the merciful precede those who hunger and thirst for righteousness.

Here is the current version.

1.	Blest are the poor in spirit for ~ heav'n's kingdom shall be theirs.
2.	And blest are those that mourn; they shall ~ know comfort in their tears.

3.	Blest are the humble, meek, for to ~ the earth they shall succeed.
5.	Blest too shall be the merciful; ~ mercy they’re guaranteed.
 
4.	Blest are they that hunger and thirst ~ for what is just and right;
	They shall be satisfied, renewed, ~ filled with what gives them might.
 
6.	Blest too the pure in heart for they ~ our blesséd God shall see.
7.	And blest the peacemakers; named as ~ God’s children they shall be.

8.	Blest are those persecuted for ~ the sake of righteousness:
	For heaven’s kingdom shall be theirs; ~ they’ll know his blessédness.

9.	And blest are you when people curse, ~ oppress, taunt and defame:
	Tell lies and persecute you for ~ your bearing Jesu’s name:

9b.	Rejoice, be glad for your reward ~ is great in heaven’s view,
	For so did they the prophets treat, ~ who went ahead of you.

This is in Common Metre and the tune provided is Beatitudo by J.B. Dykes (1823-76). That has been used for many hymns, but despite its name, does not appear hitherto have been linked to any version of the Beatitudes. Other suggested tunes include  Clifton, Chorus Angelorum and Lloyd.

It occurred to me recently that if one was less rigid about putting each Beatitude wholly in either its own line or its own stanza, it might be possible to sing them in the right order.

Righteousness, Justice or something else

I had been aware for some time that there is a translation issue with one of the Beatitudes. What is it that Jesus exhorts the disciples, and through them, us, to hunger and thirst for? Most English Bibles historically have had some version of “Blessed are those who hunger and thirst for righteousness” . Some translations, though, have some sort of variant of “Blessed are those who hunger and thirst for justice”3 . There is a slight tendency for Protestant translations to be the ones that use ‘righteousness’ and Catholic ones ‘justice’ but this is by no means a universal match. It is possible that the Catholic tendency may derive from the Vulgate version of this verse, “beati qui esuriunt et sitiunt justitiam quoniam ipsi saturabuntur”. That is more relevant as evidence for Latin semantics around 400 AD than for what English words actually mean now.

So a first question for you, ‘to you, do ‘righteousness’ and ‘justice’ mean the same thing and have the same resonances?’ For me, they do not. Perhaps it’s the retired lawyer in me, but ‘justice’ is a slippery word, a word I am wary of. I cannot help associating it with trials, decisions, demands for compensation and vengeance. Just as anyone who proclaims ‘I know my rights’ invariably doesn’t, lawyers sometimes joke that when a person calls for ‘justice’, what they are usually demanding is an injustice in their favour.  That is not just being cynical.

‘Righteousness’, though, is not that brilliant either. It can all too easily acquire a flavour of self-satisfied virtue, a list of the things a person does not do, rather than what they do or who they are. To me, also, ‘hunger and thirst for justice’ feels more like campaigning for a social cause, something communal, public or political, whereas ‘hunger and thirst for righteousness’ feels more like trying to achieve something personal, virtue, holiness, sanctity. ‘Righteousness’ in modern English is also more of a specifically ‘religious’ sort of word than ‘justice’.

So my second question for you is ‘Before considering what Jesus is actually saying, for you, which of those, righteousness or justice, do you think is the more worth hungering and thirsting for?’ That is a subjective question for you, before turning to the much more important objective ones this blog is asking, ‘Which of these two English words best conveys what Jesus is saying?’ and ‘What does he mean?’

Δικαιοσύνην4

This is the Greek word which occurs twice in the Beatitudes. In most translations it is rendered as ‘righteousness’ but in some as ‘justice’ or even in other ways5. It is not a rare or obscure word. A bit of research reveals that this word behind ‘righteousness/justice’ can be rendered with either. That is not because it can mean either, but because its meaning in Greek includes aspects of both, justice, fairness, rightness, equity etc. As so often happens in linguistics, neither words nor syntax in one language conveniently map neatly onto the words and syntax in another. Both ‘righteousness’ and ‘justice’ mean significantly less than the full meaning or flavour of δικαιοσύνην. It is part of a tribe of words from the same root, found right through classical Greek literature, the Septuagint (LXX) (i.e. the Greek version of the Old Testament), the rest of the New Testament, and down into modern Greek. 

The LXX used it to translate an important set of Hebrew words, so that it had come to be linked to peoples’ relationship with God, their conduct before him, their right living and their keeping of the Torah. In contrast to the flavours ‘righteousness’ and ‘justice’ have come to have in English, it describes something that is both personal and communal. This is significant because it is prudent to allow for the likelihood that Greek words in the New Testament take something of their meaning and flavour from Greek usage in the LXX rather than classical Greek or koiné Greek as spoken generally across the eastern Mediterranean.

Δικαιοσύνην is behind the word Jesus uses again later in the Sermon on the Mount at Matt 6:33, rendered by the AV/KJV:-

“33 But seek ye first the kingdom of God, and his righteousness; and all these things shall be added unto you.”

St Paul uses δικαιοσύνην when he writes about attributed righteousness. When Matt 1:19 describes Joseph as a man who was therefore minded to divorce Mary privately the word there is δίκαιος6 from the same root. Jerome translates that as ‘justus’, and the Authorised Version as ‘just’. When John the Baptist resists Jesus’s submitting to baptism by him, on the entirely understandable grounds that this is the wrong way round, Jesus insists that he go ahead.

     "γὰρ πρέπον ἐστὶν ἡμῖν πληρῶσαι πᾶσαν δικαιοσύνην"
        which the New Revised Standard Version (NRSV) renders as 
     "for it is proper for us in this way to fulfill all righteousness.  

It is all very well for the NRSV to render δικαιοσύνην there as ‘righteousness’, but that is not the normal way either ‘righteousness’ or ‘justice’ are used in modern English. Worse, using ‘righteousness’ there makes it difficult to work out what it is that Jesus is saying to John the Baptist. ‘Justice’ would have been even more opaque. The sense in that exchange between them is more that this is ‘fitting’, ‘the right thing to do’, or ‘this is what the kingdom requires’.

The ordinary word Google translate provides for a judge or a magistrate in modern Greek is δικαστής7 which appears to be from the same tribe of words. For δικαιοσύνη, Google translate gives justice, equity, fairness and judicature.

And, of course, just to complicate matters a bit further, it’s very likely that Jesus uttered his original version of the Beatitudes in Aramaic or Hebrew.

If one wants to set righteousness and justice against each other, it is better to conclude that they have different meanings and flavours in English but the concept that the word δικαιοσύνην expresses contains aspects not just of both those words, but a number of similar ideas that are related to each other, something like

‘that which is right, just, good, fitting, a sense of how the kingdom of heaven is’.

Indeed, is it possible to be completely accurate when it comes to rendering what Jesus actually said, or meant into English? The way I have chosen to render these two Beatitudes is.

"4.	And blest whoso hungers and thirsts: ~ for what is just and right."
                       and
"8.	Blest are those persecuted: for ~ that which is just and right:"

Merciful and mercy

When I said earlier in this post that there is a translation issue with words Jesus uses in the Beatitudes. I had realised that ‘righteousness’, ‘justice’, δικαιοσύνην is not the only example. There is also potentially a puzzle as to what ‘mercy’ means in “Blessed are the merciful, for they will receive mercy”. How well does the envelope of meaning ‘mercy’ expresses in English coincides with what Jesus might have been saying?

If there is a mismatch in meaning, it is possible that that one may go back to a mismatch between Greek and Hebrew. The Greek behind this Beatitude is

μακάριοι οἱ ἐλεήμονες, ὅτι αὐτοὶ ἐλεηθήσονται.

Blesséd are the ****, for they will be ****ed.

The underlying word is normally translated into English as ‘mercy’ or forms from it. The Greek word behind it is ἔλεος (eleos), which in classical Greek meant mercy, compassion and pity. It is the word from which the English words eleemosynary and, with more changes over the centuries, alms, derive, the former meaning relating to or dependent on charity, and the latter, of course, money etc given to the poor. If that is simply what Jesus is saying in this Beatitude, ‘mercy’ in English does more or less occupy the same semantic space. If we are merciful to others, God will be merciful to us. That would not be that dissimilar to ‘Forgive us our sins as we forgive those who sin against us’.

It is this word, ἐλέησόν με which forms the ‘have mercy on me’ in the Jesus Prayer, ‘Lord Jesus Christ, Son of God, have mercy on me, a sinner’ and is the word in the prayer Kyrie Eléison, Lord have mercy.

Condescension, downwards, upwards or across.

The meanings Greek-English dictionaries propose for ἔλεος (eleos) are words such as, ‘mercy’, ‘pity’ and ‘compassion’. As with the link to charity and the giving of alms, ‘mercy’ is something which a person asks of God or a social superior. Mercy in that sense is something that goes downwards, condescension. It also can have a discretionary flavour. Just as it is up to the prominent citizen whether to be merciful or not, and he or she is free not to be, in the same way it is up to God whether he decides to extend his mercy or not8. It is not something that humans give to God or equals normally give each other. Just about the only contexts in which a person can be merciful to God, is where a little girl is playing the part of Mary caring for Jesus in a nativity play, or in the classic portrayals of the Deposition from the Cross.

It is unequivocally right that Jesus calls us to be merciful towards those who are disadvantaged, are weaker than we are, or those to whom we might be tempted otherwise to feel superior. A look at the LXX, though, does raise a query whether that is all what Jesus means in this Beatitude.

Mercy and Ḥesed

Were one translating classical Greek, ‘mercy’ would usually be an appropriate rendering of ἔλεος (eleos). When it comes to the LXX, it may not be.

” 1. eleos and its derivatives are found nearly 400 times in the LXX. It normally represents ḥeseḏ; only 6 times raḥᵃmı̂m. The vb. normally represents ḥānan (Grace), but also rāḥam; eleēmosynē renders ṣᵉḏāqâh.

2 These Heb. concepts betray a completely different background of thought from the predominantly psychological one in Gk. They are based on legal concepts. Hence, we have to interpret the LXX translation from the standpoint of the Heb. original, and not the other way round. Philo is the first Jewish writer in whom a penetration of the Gk. concepts is observable in our word-group.

(a) ḥeseḏ means proper covenant behaviour, the solidarity which the partners in the covenant owe one another (Covenant). The covenant may be between equals, or it may be made by one who is stronger than his partner in it. In either case it may result in one giving help to the other in his need. So the connotations of eleos meaning ḥeseḏ may stretch from loyalty to a covenant to kindliness, mercy, pity. …..”

From the New International Dictionary of New Testament Theology (NIDNTT), Vol 2 p 594

Many bible translations have used ‘mercy’ to translate ḥesed. In the Authorised Version (AV/KJV) the repetitions in Psalms 118 and 136 are “his mercy endureth for ever”. The CWDP psalter follows that with “his mercy endures for ever”. The word behind that, though, is unequivocally ḥesed. Both the NRSV and its predecessor, the Revised Standard Version (RSV) render the repetitions as “his steadfast love endures for ever.” Ḥesed is not what ‘mercy’ usually means in English. Yes, when God loves us with his steadfast love, we are receiving something from a superior, a love which has a quality and depth greater than we can give in return. But ḥesed is still what we are called to give him in return so far as we are able and is what we are called to give each other. Nor, unlike ‘mercy’ does it have a sense of being conferred by discretion. It is something that is part of God’s nature, his personality, how he is. It contains a very strong element of covenant and commitment. As such, it is fundamentally and of its essence something that we are called to emulate. I would suggest that it is a similar understanding of love, even though there it is agape, that underlies what St Paul is talking about at Eph 5:25,

Husbands, love your wives, just as Christ loved the church and gave himself up for her, ….”

The profound question with this Beatitude, is this. When Jesus says ‘mercy’ and ‘merciful’ does he mean it in the familiar sense, the way we hear it, with its Greek and English meaning, or does he mean it as the Greek for ḥesed, in which case the meaning would be more like, “Blessed are those who love with steadfast love, for they will receive steadfast love”? And, from that, when ‘mercy’ appears elsewhere in the New Testament, does it mean ‘mercy’ or the Greek for ḥesed?

Eleos and Elaion

For many centuries there has been a belief, a linguistic legend, as far as I know never proven and never proven to be wrong, that it is not just the coincidence that they sound similar, but that there is a common derivation that links ἔλεος (eleos), ‘mercy’ and the cluster of words λαιον (elaion), olive oil9, ἐλαία (elaia), olive tree/olive etc. Olives, and especially their oil, have enormous resonances both in Jewish culture and in the Christian Mediterranean, from biblical times down until the present, more so than on the north-western European seaboard where they do not grow. They are an essential for even the minimum of civilised life. Oil is for so many things, cooking, the fuel for lamps, as in the parable of the wise and foolish virgins, healing for wounds, cosmetic freshening of the face, preparation of the body for physical combat, the anointing of kings and priests, and throughout a symbol of blessing, joy, favour and abundance.

Ps 133 A: 1-2 from this collection

1.  	How vast must their advantage be! ~ how great their pleasure prove!
      	Who live like brethren, and consent ~ in offices of love!

2.  	True love is like that precious oil, ~ which, poured on Aaron’s head,
      	Ran down his beard, and o’er his robes ~ its costly moisture shed.

and Ps 23 A: 5

5.	My table thou hast furnishëd  ~  in presence of my foes;
	My head thou dost with oil anoint,  ~  and my cup overflows.

If the link between oil and mercy is linguistically valid, or even if it is merely widely believed, that would suggest that even in New Testament Greek, mercy is rather more than its flavour in English.

Other possible ways of rendering eleos/’mercy’

In the current version, this Beatitude has been.

     "Blest too shall be the merciful, ~ mercy they’re guaranteed."

It has been quite difficult deciding whether uncontroversially to stick with the familiar ‘merciful’ and ‘mercy’ or whether, so far as might be possible within the demands of scansion and rhyme to introduce at least some reference to ‘steadfast love’ which is the phrase this collection normally uses for ḥesed in the Psalms and Old Testament canticles. This,

5.     Blest those who loves with steadfast love ~ such love they will receive.

would scan and fit the metre. However, because mercy is so much a part of the familiar version of this Beatitude, I felt it would be unrecognisable without it. I tried a number of alternatives before finally settling on,

     5.	Blest those whose mercy is steadfast: ~ such mercy they’ll receive.

At one point, I even considered whether to give you an insight into the creative process by listing some of the other versions that did not make it, but thought better of it.

Blesséd/Makarios

The most surprising thing, bearing in mind that the Beatitudes are so called, is that the Greek word Μακάριοι (Makárioi) is not a form of the usual word for blessing, which is εὐλογέω (eulogeō) in various forms, found throughout the LXX where it is the normal Greek translation of the Hebrew root, bāraḵ. Rather than ‘blessed’ in the sense of ‘conferring a blessing’ as at the end of a Sunday Service or of the couple at a wedding, it means more ‘happy are those …. ‘, ‘this is what is good and will make you better’ rather than ‘if you do these things, Jesus will bless you’ or ‘you will receive his blessing and approval’.

This is from the Tyndale Commentary on these verses,

“Blessed’ is a misleading translation of makarios, which does not denote one whom God blesses (which would be eulogētos, reflecting Heb. bārûk), but represents the Hebrew ʾašrê, ‘fortunate’, and is used, like ʾašrê, almost entirely in the formal setting of a beatitude. It introduces someone who is to be congratulated, someone whose place in life is an enviable one. ‘Happy’ is better than ‘blessed’, but only if used not of a mental state but of a condition of life. ‘Fortunate’ or ‘well off’ is less ambiguous. It is not a psychological description, but a recommendation. The beatitudes thus outline the attitudes of the true disciple, the one who has accepted the demands of God’s kingdom, in contrast with the attitudes of the ‘man of the world’; and they present this as the best way of life not only in its intrinsic goodness but in its results. The rewards of discipleship are therefore spelt out in the second half of each verse. … “

A few Bible translations with a commendable desire to get away from an assumption that is misleading do indeed choose other words to introduce each Beatitude. The Good News Bible, the Bible in Basic English and the Common English Bible, for example, have ‘Happy are …’. For this version, I have stayed with ‘Blest’ for no better reason than that it is one syllable rather than two.

Peacemakers

There is no authority for this statement but it is more likely that the ‘peacemakers’ in v 9 is aimed more at those who make peace in the domestic and neighbourhood sphere, who bring together bickering family members, church disputes, rows about fences etc. rather than a commendation of the relatively few people in the world who genuinely get any opportunity to make peace between nations. It is clear from the opening of the Sermon on the Mount that these are not words addressed to the multitude. Jesus has temporarily taken the disciples aside from public ministry to give them teaching up on a hill where it is quieter and more intimate.

“5,1 (NRSV)  When Jesus saw the crowds, he went up the mountain; and after he sat down, his disciples came to him. 2 Then he began to speak, and taught them, saying: …

The rest of the Beatitudes do not appear to be aimed primarily at holding up the remote and distantly worthy to our admiration. They appear to be an injunction to each Christian as to how to behave, what makes him, her – or you – ‘blessed’ or ‘happy’.

The new version

This is the final version of this canticle, which, for now, is the form it will take when Book 6 is next updated. It will be linked with the same tune as before, Beatitudo, with the same suggested possible alternatives.

1.	Blest are the poor in spirit: for ~ heav'n's kingdom shall be theirs:
2.	And blest are those that mourn; they shall ~ know comfort in their tears.
       
3.	Blest are the meek: for they’ll be heirs ~ to the earth, heaven’s delight.
4.	And blest whoso hungers and thirsts: ~ for what is just and right.

	They shall be filled and satisfied ~ more than they can conceive.
5.	Blest those whose mercy is steadfast: ~ such mercy they’ll receive.

6.	Blest are the pure in heart: for they ~ shall see God, unashamed:
7.	And blest the peacemakers: for as ~ God’s children they’ll be named.

8.	Blest are those persecuted: for ~ that which is just and right:
	For heaven’s kingdom shall be theirs: ~ they’ll know his blessédness.

9.	And blest are you when people curse, ~ oppress, taunt and defame:
	Tell lies and persecute you for ~ your bearing Jesu’s name:

9b.	Rejoice, be glad for your reward ~ is great in heaven’s view:
	For so did they the prophets treat, ~ who went ahead of you.

Worship

“O Worship the Lord in the beauty of holiness.”

These are the opening words of a very familiar hymn by the Revd John Monsell, normally, despite what hymnary.org implies, sung to the tune Was Lebet Was Schwebet. That line echoes the AV version of Ps 96:9. “O worship the LORD in the beauty of holiness: fear before him, all the earth.”

In February 2020, just before the pandemic reached these shores, I wrote a piece in our churches’ newsletter on worship, what we are doing when we worship God individually and, more importantly, together.  Somebody recently suggested that I include this in the blog. This is not the exact text of that piece. I have updated it, added a few extras and adapted it where it is too closely tied into the cultures of  the two ecclesiastical households for which I wrote it.

Worship is a key part of our calling. It is something that is built into how we are created. It is what we are made to do. In my childhood, every Sunday morning the service contained,

“O come let us sing unto the LORD: let us heartily rejoice in the strength of our salvation.

Let us come before his presence with thanksgiving: and shew (sic) ourselves glad in him with psalms.”

 and later on

“O come let us worship and fall down: and kneel before the LORD our maker. “

These are verses from the Venite, Psalm 95, in the 1662 Book of Common Prayer prose or chanting version.

Yet worship is something that is no longer instinctive. It does not come naturally to many C21 people. Some ‘get it’. Many do not.

Even the statement one hears that loving one’s neighbour and doing good deeds are a part of how we worship, profound though it can be, is often in stead expressing either a bewilderment about worshipping in its more traditional and direct sense or is an excuse for not really making the attempt.

An L or an inverted T,  a ⟘

From what people say to me it’s clear that many people have a problem with how to worship, what it is about.  

You may find it helpful to visualise this as an L or an inverted T,  a ⟘. There is what goes up.  There is what comes down.  There is what goes across. So,

  • Prayers, praise, thanksgiving, hymns, go up.
  • The readings and sermon come down.
  • What we share goes across.

Reflection, though, quickly reveals that much of what we do turns out to involve more than one arm of the ⟘.  The prayers we pray and the psalms and hymns we sing go up, but the very fact that we worship together, sometimes even singing in parts, and not just on our own, goes across. Many hymns express profound truths. They include something that comes down.  Furthermore, even when it comes to praise, thanksgiving and prayer which one might naturally think of as being what goes up, this is often a response to what has come down, or even what we aspire for or have received ‘across’. So

  • praise is about God, who he is, us responding to his identity. So that really is predominantly about the upward arm of the ⟘,
  • thanksgiving, though, is our upward response to what has already come down, and
  • prayer often contains intercession for our brothers, sisters, neighbours, the world around us, so that much of it is about our desire to send the bottom, i.e. the across, arm of the ⟘ upwards.

The bread and the wine

It is easy and straightforward to think of Holy Communion, the Eucharist, the Lord’s Supper, the Breaking of Bread Service, the Mass, the Holy Liturgy, the Holy Qurbana or whatever term your ecclesiastical household uses predominately as something that comes down. Wherever that household stands on the question what is happening at the event and however we understand it, in the bread and the wine, in some way, we receive the body and blood of Christ.  

Yet, we break bread together. That goes across. If your practice includes the peace, that is also clearly something that goes across, yet what we are saying by it, to each other and to God is something that we offer him, something that goes up. 

At the core of Holy Communion is thanksgiving. From my own household’s usage, but I would imagine something similar may well be part of yours, the command is

“Eat and drink in remembrance that he died for you, and feed on him in your hearts by faith with thanksgiving.”

What is more, thanksgiving is what Eucharist means in Greek, and thanks is something that goes up.

Finally, the adverts – an apology

I hope you realise that as a mere user of wordpress, I have absolutely no control over the advertisements you see. I have no influence on them. I do not even know whether you all see the same ones, whether you see the same ones as I get sent or completely different ones, whether some algorithm sends different advertisements to each visitor to this site, or how or by whom or by what they are selected. The only advice I can offer is to avert your eyes from them and not click on them. The only other thing I can do is to apologise for them.

  1. They get their name from the Latin word ‘Beati’ (Blessed) which opens each of them in the Vulgate ↩︎
  2. Because of changes in language it includes a stanza which would now cause raucous amusement if used unamended
    “Blessed are the men whose bowels move, ~  And melt with sympathy and love.
    From Christ the Lord they will obtain ~ Like sympathy and love again.” ↩︎
  3. e.g. New Catholic Bible (NCB) “Blessed are those who hunger and thirst for justice, for they will have their fill.”
    New Living Translation (NLT) “God blesses those who hunger and thirst for justice, for they will be satisfied.” ↩︎
  4. Transcribed dikaiosunēn or pronounced thikayoseenin? ↩︎
  5. The Revised English Bible (REB) has “Blessed are those who hunger and thirst to see right prevail; they shall be satisfied”. ↩︎
  6. Transcribed dikaios or pronounced theekayos. ↩︎
  7. Transcribed dikastēs or pronounced thikastees. It is wise, though, to be cautious with using Modern Greek as evidence for what words in either the LXX or the New Testament might have originally meant. Greece has been Christian since the age of the Fathers and knows and uses the LXX and New Testament as the scriptures. So the original texts have continued to influence and interact with normal speech and language ever since. ↩︎
  8. Rather as Esther does not know whether or not Ahasuerus will extend the golden sceptre to her or not. (Esther 5:2) ↩︎
  9. Modern Greek, courtesy of Google translate, ελαιόλαδο ↩︎

A new verse for Jonah’s Prayer and a version of the Advent Antiphons to fit Woodlands.

It has been quite a long time since I last posted on this blog. There are four things I want to offer but to protect you from indigestion, they will not not all be in the same post. This one has two offerings, one, an extra verse for Jonah’s Prayer in Book 6 and the other a setting of the Advent Antiphons to go with the Magnificat set to Woodlands.

Jonah’s Prayer

Recently I had cause to look again at this canticle. Common Worship Daily Prayer’s (CWDP’s) version, omits one verse. It chooses Jonah 2:2-7 and then v9. My original version, replicated this without even reflecting on this, yet alone considering why or whether it should have done.

In the canticle, Jonah re-experiences being in the belly of the great fish, how all seemed lost, how he cried to God, and how God rescued him. These are the last two verses in CWDP:-

5 I went down to the land whose bars closed upon me for ever, ♦ yet you brought up my life from the depths, O God.
6 As my life was ebbing away, I remembered you, O God, ♦ and my prayer came to you, into (sic) your holy temple.
7 With the voice of thanksgiving, I will sacrifice to you; ♦ what I have vowed I will pay; 
                      deliverance belongs to the Lord!

In contrast, these are the same verses in the New Revised Standard Version (NRSV).

6 ...   I went down to the land whose bars closed upon me forever;
           yet you brought up my life from the Pit, O LORD my God. 
7 	As my life was ebbing away, I remembered the LORD;
           and my prayer came to you, into (sic) your holy temple.
8 	Those who worship vain idols forsake their true loyalty.
9 	But I with the voice of thanksgiving will sacrifice to you; 
           what I have vowed I will pay. 
                      Deliverance belongs to the LORD!”

That immediately reveals that in the NRSV, there is an extra verse. It reads almost like an interpolation,

“8 Those who worship vain idols forsake their true loyalty.”

before it goes on to v 9. That verse 9 is in the CWDP version of the canticle but what have those who worship vain idols got to do with Jonah’s rejoicing in his deliverance? That aside, an apparent irrelevance, almost like an interpolation, with a slight flavour also of moral superiority, presumably explains why the compilers of CWDP left out verse 8 of their canticle. It is reminiscent of the way CWDP also permits users to bowdlerise Psalm 95, the Venite, by omitting vv8-11.1

It was only when I looked at some of the other translations of Jonah’s prayer and especially Jonah 2:7-9 that I realised that v8 is not a an interpolation or a digression. It is supposed to be there. There is a hint of this in the “But” with which the NRSV starts v9, even though that is not in the Hebrew. There, it is simply an ‘and’. The CWDP has neither ‘but’ nor ‘and’ because in its version, the last verse is not contrasted with anything.

Hebrew is often a terser language than English, especially in sections such as the psalms and large parts of the prophets, which are written as poetry. It does not always include the conjunctions, adverbs etc that English demands to indicate how different parts of a text relate to each other. Hebrew often expects readers or listeners to work that out for themselves.

When I looked at the Revised English Bible (REB), which is a more dynamic translation, it renders these three verses,

"7 As my senses failed I remembered the Lord, and my prayer reached you in your holy temple. 
8 ‘Those who cling to false gods may abandon their loyalty, 
9 but I with hymns of praise shall offer sacrifice to you; what I have vowed I shall fulfil. 
      Victory is the Lord’s!’ "

Notice how, in addition to the ‘but’ at the start of v9, it uses ‘may abandon’, rather than just ‘abandon’. I think the REB is right. This is not just an aside. It is part of the prayer. In a world where idolatry is the normal, Jonah is contrasting himself, one who consciously cries to the Lord even when in the belly of the great fish, with other people, the sailors on the ship, the people of Nineveh or perhaps even his less faithful fellow Israelites. I have therefore added an extra verse to the metrical version of this canticle, which will be included with the next revision. With a small change to the following verse, the last two verses of Jonah’s Prayer will now be,

“6.	To idols some may cling, false gods, ~ 
           choose vain and worthless things:
	And push away God’s steadfast love, ~ 
           the goodness his love brings.

7.	But with my thanks I'll sacrifice, ~ 
            perform the vows I paid:
	Salvation is the LORD's who has ~ 
           a great deliv'rance made.”

The whole canticle now will read:-

1.	From my distress I called to you; ~ 
            there my God answered me:
        From bowels of Sheol you heard my cry; ~ 
            there you answered my plea.

2.	You cast me deep in the abyss; ~ 
            I cried from that wet night:
        “Your temple I shall see no more; ~ 
            I'm driven from your sight”.

3.	The waters closed in over me, ~ 
            the deep became my bed:
        Where mighty mountains have their roots, ~ 
            weeds wrapped about my head.

4.	I sank down to that prison, whose ~ 
            bars closed above my head:
        Yet you O God restored again, ~ 
            my life from that dank dread.

5	As my life failed, I called to mind ~ 
           the mem'ry of your face:
        I cried to you, my God; my prayer ~ 
           came to your holy place.

6.	"Some may cling to idols, false gods, ~ 
            choose vain and worthless things:
        And push away God’s steadfast love, ~ 
            the goodness his love brings.

7.	But with my thanks I'll sacrifice, ~ 
            perform the vows I paid:
	Salvation is the LORD's who has ~ 
            a great deliv'rance made.

The Advent Antiphons to Woodlands

Background

There is an ancient tradition that at Evening Prayer from the 17th of December until the 23rd, the Magnificat is preceded and followed by a serious of extra versicles known as the Advent Antiphons. The tradition is often known as O Sapientia after the opening two words of the first of these antiphons on the 17th. O Sapientia is Latin for O Wisdom. The 17th December is even marked in the current Church of England lectionary as O Sapientia.

A setting of the Magnificat in Double Common Metre has been in Book 6 from the start. That version has two recommended tunes, Sir Henry Walford Davies’s (1869-1941) Christmas Carol , fairly well known as an alternative tune for O Little town of Bethlehem, and an anonymous sixteenth century tune Old Magnificat. That is the tune in the collection for Hannah’s Song, often described as the Magnificat of the Old Testament. In the collection both are deliberately written in the same metre (see blog for 8th September 2018).

I then wrote settings of Advent Antiphons to fit the same Double Common metre as the Magnificat and posted this in this blog on January 9th 2018 . As that blog explains the history of the Antiphons, I am not going to duplicate that explanation. It also explains what is called the Eighth Antiphon, which is not in CWDP, but for which I provided a version, with a suggestion as to how to use it if one should wish to do so.

There is a very popular and well known version of the Magnificat by the Revd. Timothy Dudley-Smith, Tell out my soul to the tune Woodlands by Walter Greatorex (1877-1949). As the Revd Timothy Dudley-Smith is still alive2, when the tune came out of copyright at midnight on the 31st December 2019, I produced for the collection an alternative version of the Magnificat to fit it, see blog of the 24th of February 2022. As Advent approaches and people might be preparing the details of their carol and other Christmas services, what follows are versions of the Antiphons to fit Woodlands.

The Antiphons themselves in 10 10 10 10

December 17: O Sapientia (O Wisdom):-

O Wisdom from the mouth of God most high
You span the cosmos, the wide earth and sky,
You order all with might and sweetness rare.
Come teach to us the way of prudence fair.

December 18: O Adonai (O Lord):-

O Adonai, and Lord of Israël
Who from the Burning Bush did Moses tell
And gave to him the law at Sinaï.
Come, us redeem with outstretched arm, we cry.

December 19: O Radix Jesse (O Root of Jesse):-

O Jesse’s Root, to people, rod and sign.
Before you kings, will be struck dumb, resign.
To you nations shall raise their hands and pray.
Come rescue us, no longer your hand stay.

December 20: O Clavis David (O key of David):-

O David’s Key, sceptre of Israel’s line.
What once you open, none can close, confine.
What once you close, no one can open wide.
Come lead the prisoners forth from death’s dark shade.

December 21: O Oriens (O Rising Sun):-

O Rising Sun, Dayspring and light of dawn,
Splendour of light eternal, and our morn.
Come sun of righteousness, on you we call.
Light up those locked in darkness and death’s pall. 

December 22: O Rex Gentium (O king of the Nations):-

O King of the Nations and their desire,
The cap and cornerstone which can inspire
To make them one, unite them in one way.
Come save our species which you made from clay.

December 23: O Emmanuel (O God with us):-

O⁀Emmanuël, God with us and our King,
Giver of law, each nation’s hope and spring. 
Their Saviour, wisdom, light, key, root and rod.
Come and save us as our Lord and our God.

And

The Eighth Antiphon:- 

O Virgin of Virgins, how shall this be,
For this thing is unique in history.
Jerus’lem’s Daughters why marvel at me.
What you see is a holy mystery. 

A literal translation of the Latin title O Oriens for the Antiphon for the 23rd of December is ‘O East’ usually taken to be “O Rising Sun”. The poetic “O Morning Star” or “O Dayspring” is often preferred.

I feel that I ought to apologise for the imperfect rhymes of ‘wide’ and ‘shade’ in O Clavis David. I have not been able to find a better one. It is also quite difficult to fit ‘O Emmanuel’ into the opening line of that verse, but that is unavoidable. That is how the verse has to start. There is no alternative.

I made a number of suggestions in my previous blog on ways to use these Antiphons, which are in that blog and so I am not going to repeat them here. There is a further suggestion. This has occurred to me since. It is that either the whole or a selection of the verses of the Antiphons would work quite well as a carol, either sung to Woodlands, or to some other tune. I think the same could be done with the original DCM version of them.

The Picture

The picture is Jonah and the Whale3 by Pieter Lastman (1583-1633), currently in the Museum Kunstplatz in Düsseldorf. It is public domain from Wikimedia Commons and Google Art Project.

  1. I think this innovation may have first come from the unauthorised 1928 Prayer Book. I don't, though ever recall those verses being dropped from the Venite in my childhood when all services were 1662 and Morning Prayer was the usual form of service on a Sunday morning. ↩︎
  2. Aged 96. ↩︎
  3. As is often pointed out, no version of the Bible refers to the creature that swallows Jonah as a whale. Virtually all English versions of the Old Testament translate the Hebrew as ‘a great fish’. The suggestion that it might have been anything else comes from the Septuagint, but even that does not describe it as a whale, but as a sea monster. ↩︎

New versions of two Psalms, both about the wicked

Introduction

From time to time I mark texts as potential candidates either for deep revision or for newer versions. Two of these were Psalms 36 and 55. Both the versions currently in the collection are relatively unaltered from their originals in the Old Version, i.e. SHa, and both are in Common Metre. They have several other things in common. Both seem to have been written by John Hopkins. Both have a double rhyming scheme, ABAB. That seems to have been more characteristic of psalms rendered by John Hopkins than either Thomas Sternhold or William Wittingham. Double rhyming resonates well but has two downsides, both related to each other. The first is that the need to find so many suitable rhymes is likely to dominates the text so much that it distorts the quality of the translation. The second follows from this. Fitting the text round all the rhymes  and conveying the sense at the same time tends to make the psalm longer and more discursive. That does not replicate the terseness of Hebrew grammar and syntax.

Both psalms have the theme of the good person’s cries to God under threat from the malevolent. This is somewhat of a theme throughout much of the psalter but especially from Psalm 52 to  63. It is an important message for the modern Christian. The God of Abraham, Isaac and Jacob is the God of honesty and truth, not the God of those with a stiff upper lip or dignified passive aggression. It is all right to cry out to God in one’s emotional pain. Few of the psalms, though, feature quite the sense of bitterness at personal betrayal as that in Psalm 55 or, for that matter, in Psalm 52.

Psalm 36

The Words

The version currently in the collection has twelve stanzas.The recommended tune is Manoah an attractive one that comes from the Scots Reformed Presbyterians.  Below is the new version, in 10, 10, 10, 10, which reduces it to only six stanzas. As the original is in a different metre and has a good tune, I am currently considering retaining it as a B version.

The original has a headnote that it is of David, when he pretended to be insane before Abimelech, who drove him away, so that he departed. For that episode, see 1 Sam 21.

1.	Sin whispers guile deep in the wicked heart:
	From fear of God it keeps itself apart.
2.	It’s smoothed away its vice in its own eyes: 	
	So it may neither find nor hate its lies.

3.	Such mouths spout trouble, fraudulent falsehood: 
	Forgoing all wisdom or doing good.
4.	Trouble they plot as on their beds they turn:
	Set on evil, wrong ways they do not spurn.

5.	Your steadfast love LORD, reaches to the sky:
	Your faithfulness is as the clouds on high,
6.	The peaks your justice, your verdicts the deep:
	Both man and beast, LORD you preserve and keep. 

7.	Oh God, your steadfast love does all excel:
	For cloaked in your wings Adam’s offspring dwell,
8.	Filled with the fat of your household’s birthright:  
	They drink from Eden’s river of delight.
	
9.	In you is found the well of life so fair:
	In your light we see light: sustain your care,   
10. 	With steadfast love to those who know your part,
	And righteous dealing with the true in heart.

11.	Let me not be the vain and proud foot’s prey:
	Nor let the wicked hand drive me away.
12.	There lie workers of ill, prostrate, fallen:
	They are thrown down and shall not rise again.

Saying that any peoples’ ‘mouths spout trouble’ or ‘fraudulent falsehood’ or that there are those who ‘forgo all wisdom or doing good’ may not feel very loving. The more important question, though, is whether it is true. It is neither necessary nor virtuous to pretend that the wicked are not wicked, or that such people are just misunderstood. Part of a trained human nature is its critical faculty, and that includes its ability to distinguish between good and evil. There are times when it is prudent to be as wise as a serpent and when that might include silence. Nevertheless, if something or someone is bad, it is right to be able to identify that and act accordingly. There is no obligation  to give the untrustworthy the benefit of the doubt.  Jesus at Luke 13:32 refers to Herod as ‘that fox’.

The tune

The tune provided is Gibeon by Samuel Wesley (1776-1837) in G Major.  It is difficult to see why this attractive tune has been largely forgotten. 

This Samuel Wesley is not the better known Samuel Sebastian Wesley (1810-1876), the famous church musician of the nest generation, but his father. He was the son of the celebrated Charles Wesley. He was quite a well known and versatile musician in his day, a child prodigy known sometimes as ‘the English Mozart’. This is the wikipedia account of his life. To confuse matters further, his grandfather, Charles’s father, and an older brother were also called Samuel. It is not unknown for sources to confuse to which Wesley they are attributing words or tunes.  At the moment, Hymnary.org attributes this tune to this Samuel’s uncle (1690/1-1739), the one that was also a Samuel. That Samuel was a clergyman, schoolmaster and poet who wrote hymns, but as far as I am aware, did not write music.

Gibeon by Samuel Wesley, in G Major

Here is a link to Gibeon on Soundcloud.

Psalm 55 

The Words

The current version in the collection has twenty-six stanzas. There is a pronounced shift at v13 from a general feeling of threat to a sense of personal betrayal. This version retains that shift but is much tauter, nine stanzas in DCM which is the equivalent of eighteen in CM. It has a headnote that it is ‘To the leader/chief musician, with stringed instruments. A Maskil of David’. ‘Maskil’ appears in the headnote of several psalms. Although there has been considerable conjecture as what ‘masked’ means there is no certainty on the point. It comes from a word that means ‘prudent’ or ‘wise’. Most translations retain it as some version of ‘Maskil’ but the LXX renders it as ὕμνοις· συνέσεως , ‘a hymn of understanding’.

’Sheol’ in v 17 is pronounced as one syllable.

1.	Give ear, O God. Come hear my prayer: ~ do not hide from my plea. 
2.	Restless, I moan, distressed complain: ~ give heed and answer me. 
3.	I’m panicked by the wicked’s weight: ~ the clamour of my foes:		
4.	In fury they hold dear their hate; ~ they pour down on me woes. 

5.	My heart writhes in me, dread of death ~ wraps me in all that’s bad.
6.	Upon me fear and trembling come: ~ in shudd’ring I am clad.
7.	Would that I had wings like a dove’s: ~ and could flee far away.
8.	I would fly to the wilderness: ~ and find a place to stay.

9.	I’d hasten to escape the storm: ~ the wind’s wild rage and screech:
10.	The city, Lord is fraught with force: ~ confuse, divide their speech.
11.	Circling its walls by day and night: ~ it’s full of vice, things vile:
12.	Its squares replete with ruin: and ~ with fraud, oppression, guile.


13.	It’s not my foe that taunted me: ~ for that I could abide.
14.	Nor hassle by one who hates me: ~ then could I run and hide.
15.	But you it was, my soul-mate, friend: ~ we shared our secret thoughts:
16.	We spoke as we strolled with the crowds ~ that throng God’s sacred courts.

17.	Let death take such to Sheol alive: ~ evil dwells in each heart.
18.	For me, I’ll call on God, the LORD: ~ who’ll save me, take my part.
19.	At evening, morn and noon I’ll cry: ~ and he will hear my voice.
20.	He’ll ransom me in peace from those ~ that battle with my choice.

	Against me have so many come ~ to humble my renown.
21.	The God who sits enthroned of old ~ will hear and bring them down
	Though such have neither changed their ways ~ nor feared God without cease.          
22.	Yet this was someone who reached out ~ to break a pact of peace

	He laid his hand on me, his friend; ~ our fellowship he stained:
	The bond and covenant we had, ~ he casually profaned.
23.	Smoother than butter was his speech, ~ his heart was set on war:
	With words softer than oil, which were ~ as covert drawn swords sore.

24.	So cast your lot upon the LORD; ~ your God will you sustain:
	He never lets the righteous be ~ swayed, shaken or in vain,
25.	But consign to the pit, Lord, those ~ that blood and falsehoods do:
26	They shall not live out half their days: ~ my God, I’ll trust in you.

It has not been possible to compress every verse of the original into one line. This would have been particularly difficult in vv 20-24. It has also not been possible to render all the verses clearly as some of the originals are themselves not clear. It is possible that over the centuries there have been some transcription errors and part of v19 of the original reads as though it might have been moved. The words fit that part of the psalm as a whole but not where they happen to be placed.

Most commentaries do not try to identify who the false friend in vv 13 ff might be, but Adam Clarke writing some 200 years ago surmised that it is Ahithophel in his conspiracy with Absalom, 2 Sam 15-18.

As both this and the previous version are in variants of the same metre, when it is time to publish the next revision of the collection, I will almost certainly drop the previous version completely from the collection.

The previous headnote in the collection suggested other possible selections that would work well as 1, 5, 7, 8, 18, 19, 20a on seeking God or 1, 2, 13-18 on the theme of betrayal. Those groupings of verses do not fit identically with the new version. Equivalents might be 1&2, 5&6 and 19&20 on seeking God and 1&2 and 13-18 on the theme of betrayal. Whereas the whole psalm or the whole of either part work best with a DCM tune, both these other selections would probably work better with a single CM tune. 

The Tune

The tune to the previous version has been Manchester Old, in G Minor. It was Playford’s recommendation for this psalm. It has not survived into modern use. The version in the collection had an alto part added and a small number of consequential adjustments.  Another option that was suggested there was Bangor by William Tans’ur. (1699?-1783), the tune for Ps 12 in the collection. There is also the comment that it would work well in double metre, with the suggestion of Tramps and Hawkers. Manchester Old is not a very memorable tune. I will therefore take the opportunity to remove it from the collection. That will also free its space on Soundcloud where the collection is approaching its limit.

The tune provided now is Rex Regum by Sir John Stainer (1840-1901) in D Major. He is probably best known as the composer of his Crucifixion, widely sung by choirs at the Passion and Easter season. It is quite surprising that hymnary.org says of him that it has “no biographical information available about” him.  Rex Regum, though, is a forgotten tune. That is probably because it was the tune for a hymn that, if it was ever that popular, has also been forgotten, “O King of kings, O Lord of hosts, whose throne is lifted high” by A. H. Burton (1840-1930) author of a number of hymns that have fallen out of use. 

Rex Regum by John Stainer in D Major

Here is a link to Rex Regum on Soundcloud.

With this tune, as an experiment, I have changed the way I mark in the music where the caesuras come between the end of the eight syllable lines and the start of the six syllable ones, shown in the words by a ~.

The Picture

I have illustrated other blogposts with abstracts featuring circling shapes but I do not think I have posted this one before. It was originally inspired by thoughts of winter, which is why I have chosen it, with its play on some of the darker complementaries, as the illustration for two psalms that themselves give vent to some fairly dark emotions.

The Magnificat in 10. 10. 10. 10. to fit Woodlands

Woodlands, the place Walter Greatorex chose to name his tune after.

The Background

Sometime around the time of the 1st World War, Walter Greatorex (1877-1949), Director of Music at Gresham’s School, Holt in North Norfolk, wrote a tune, which he named Woodlands after one of the houses in the school. The school itself had been founded as a country grammar school in 1555 but about 1900 had expanded to become a public school in the English sense of the word. He wrote it as a rousing tune to be sung in Unison by massed schoolboys.  As such, it became linked to ‘Lift up your hearts, we lift them Lord to thee’ by the Revd Dr Henry Montagu Butler (1833-1918)* formerly headmaster of Harrow and then Master of Trinity College, Cambridge. Its metre is 10 10 10 10.

More recently, though, it has also become the tune to the Revd Timothy Dudley-Smith’s rendering of the Magnificat, Tell out my soul. His words express well the exuberance of the Magnificat but sit fairly freely with the scriptural text. He is still alive and in his nineties. The words will therefore remain in copyright for at least another seventy years.  As Walter Greatorex died in late 1949, his music emerged from copyright at midnight on the 31st December 2019. It therefore struck me that it might be interesting to try to produce version of the Magnificat to be sung to the same tune, which is closer to the original but under the freer copyright regime of this collection. It is of course only freer, not totally copyright free, as is explained on the relevant pages of this website.

So, the Words

1.	My soul extols the Lord, my spirit too
	Rejoices in my God and his rescue. 
	He’s seen his handmaid’s lowly poverty.
	For all time, bless’d shall be my memory.

2.	The Mighty One has done great things for me,
	His name is holy; sure is his mercy
	On those who fear him, give to him his due
	From generation, generations through.

3.	He showed his strength with his arm, limb and arts,
	Scattered the proud in the thoughts of their hearts,
	Cast lords down from their seats, raised the lowly, 
	The famished filled, the rich sent off empty

4.	He took the part of his child Israël,
	Rememb’ring the mercy that he did spell,
	As promised to our forebears in their days,
	To Abraham and his seed for always.

5.	All glory to the Father, to the Son,
	And to the Spirit, ever three in one:
	As was and is, and ever more shall be,
	World without end for all eternity.

And the tune

Woodlands, by Walter Greatorex in D Major

This tune works differently from most of the others in this collection. Most of them are designed to be sung either in Unison or preferably in harmony. This tune was written to be sung by teenage boys enthusiastically in unison. It does not break down neatly into four parts. It has the feel of being written for the organ. That drives the melody, but is providing an accompaniment not harmonies that can be sung as four parts. It is important to play it in such a way as to ensure that some of its flourishes do not swamp the tune.  Looking out various sources, it turns out there is some variation as to how they set out the tune. Some versions show some of the flourishes going above the melody line. Handled skilfully by a good organist,  and sung by people who already know the tune, this can work very well. Handled badly, it could be very confusing.  For these reasons, I found it harder than I expected to transcribe it and then to produce from that a sample, linked in Soundcloud here

I have been unable to ascertain which variant was Greatorex’s original.

These words fit, and could be sung to,  a number of other 10.10.10.10 tunes, particularly if one is looking for a less exuberant tune suitable for Evening Prayer.  A tune in a minor key is probably not suitable unless its timbre is dignified rather than sorrowful. Doubtless there are others, but from this collection Ellers, Langran, Lyte’s Original and Song 22 would all work quite well.  

The Picture. 

The picture is a photograph of the original Woodlands, the house after which Walter Greatorex named the tune, taken in July 2009 just after a heavy rainstorm.  As it happens, I once knew this building well. For four years over fifty years ago, that was my school and the building where I lived during school terms.  As things were then, the part the boys lived in was the U shaped building in the foreground,. There were two long large dormitories in the long wings on the 1st floor and a dining hall and studies on the ground floor.  Visible further back on the left is part of what was called the ‘private side’ where our housemaster and his family lived.

* A footnote on the Revd Dr Henry Montagu Butler headmaster of Harrow Master of Trinity College, Cambridge

Doing my research on the history of this tune, I came across in Wikipedia an interesting story from the life of the Revd Dr Henry Montagu Butler, the writer of Life up your hearts. It reveals how different some of the assumptions of the late nineteenth century were from our own. 

He came from a classic educated clerical background and had a very distinguished career,. His father had been successively Headmaster of Harrow and Dean of Peterborough. He took a very good degree in Classics at Cambridge, became a Fellow of Trinity in 1855 and was ordained in 1859. He then became headmaster at Harrow aged 27 and stayed there for 25 years.  He is credited with being Harrow’s equivalent of Arnold at Rugby or Ridding at Winchester, the person who took his school into the new educational era. In 1885, he went from there to be Dean of Gloucester in 1885, and Master of Trinity, his old college in 1886. 

In 1861, he married his first wife and had five children. Sadlly, though, his wife died in her early forties and he was widowed in 1883.  In 1888, he then surprised everybody by marrying for a second time.  A revolutionary event in Cambridge’s history had been the establishment in 1869-73 of Girton College, 2½ miles from the centre of the town,  It took from then until 1948 for women actually to be awarded proper degrees, though they took the same examinations and were classed on the same basis as the men virtually from the start.  Anyway, he surprised everybody in 1887 at the age of 53, by falling in love with and then in 1888 marrying Agnata Ramsay (1861-1931), then aged 21. In 1887, she had been awarded the highest class in the Classical Tripos, ahead of all the men in her year.  They had met at performance in Greek of Oedipus Rex. Even though he later wrote that it was her “goodness … not her Greek and Latin, which have stolen my heart”, this was very definitely a marriage of minds.   He did avow that on their honeymoon, they “read a great deal of Greek together”. Although Mary Beard bemoans the loss of Agnata Butler to scholarship by the demands of motherhood and being a Cambridge hostess, she did publish a book on Herodotus around the time she had her first child, and she and her husband endowed a prize for the best classical scholar 

They had three sons, two of whom lived on into the 1970s. Josephine Butler, the celebrated reformer was Dr Montagu Butler’s sister-in-law and Rab Butler,, the politician and then Master of Trinity from 1965 until 1977. was his great-nephew.  This also makes them kin to the Revd Justin Welby, current Archbishop of Canterbury, whose mother was the daughter of Rab Buter’s sister Iris.

An App, Daily Prayer and ways of singing psalms and canticles

Morning and Evening Prayer on an App

This post may be less interesting to people from outside England but for some time, it has been possible to obtain an App for iPad or Android which will give you the text of Common Worship or BCP Daily Prayer, Morning, Evening and Compline, with readings, throughout the year.  The basic version is free and one can subscribe for a fuller version. Since April 2021 there has been a further development.

In response to the various lockdowns, many churches, even now that services have resumed, continue to stream their Sunday services on line for those that can’t attend or still do not feel comfortable about doing so. Though some that were doing this have now stopped, some churches and cathedrals stream some form of the daily office.  In addition, the Common Worship Daily Prayer App, now has sound for Morning and Evening Prayer in the Common Worship format every day of the year.  One can also follow the most current service here , where there is also a link to this page which explains how to get the App. Much though one would encourage anybody to buy the subscription version, the free version enables you to get the most current services. On the App, the sound appears on the day and remains there for a few days after. It is usually led by the Revd Catherine Williams who is the wife of the Vicar of Tewkesbury Abbey. It normally includes at least one musical contribution from St Martin’s Voices, a very high quality choir based at St Martin’s in the Fields in Trafalgar Square in London. A number of different people do the readings. Usually one reading is by a man and one by a woman.  All of them are by people who can bring out the sense of the reading excellently without over-dramatising.  It lasts between eighteen and twenty five minutes. From that link, there are others to where you can download the App in your preferred format. 

The sound version sometimes describes itself as a podcast. It is not a complete sung service, and is not choral Morning or Evening Prayer. Some days there is more music than others.

For those unfamiliar with Common Worship Daily Prayer, the standard format is,

  • Opening
  • Prayer or short introductory psalm, canticle or hymn,
  • Psalm(s) of the day, with an option to chose only one of them, marked with an asterisk in the lectionary – the App usually chooses the asterisked one.
  • Old Testament reading
  • Canticle of the season or day – the App uses the recommended ones, not the extra options offered.
  • New Testament reading
  • Responses
  • Gospel canticle, a.m. Benedictus, p.m. Magnificat.
  • Intercessions.
  • Collect for the week or day.
  • Lord’s Prayer.
  • Closing.

It varies how much music there is but there are usually only one or two items. The App uses the Common Worship prose versions of Psalms and Canticles not metrical versions.  It does, though, enable one to experience, and compare, different ways of saying or singing them. There are already pages on this site about ways of doing this, see The Problem with Psalms and The Three Solutions to the Problem.  There are several things which I think using the App reveals. These are of course my opinions. You may well disagree with me.

I still think, as I said on the Three Solutions page, saying is better than nothing, but that it is not the same as singing. I have also a strong preference for ways that enable the congregation, or at least one with me in it, to be engaged by being able to sing rather than just listen. 

When the psalm or canticle is said, the site uses two different methods, one person reading the psalm, which is more like having an extra reading, or much more frequently in the familiar manner with the leader and the congregation saying alternate verses. The leader often includes the prayer that Daily Prayer adds after the psalm. Many of these are rather good and work well.

Styles of Singing

Sometimes the musical input from the St Martin’s Voices comes in the other parts of the service, the Introduction or the Responses.  Where, though, they sing a psalm or a canticle, they use at least three different styles. This gives worshippers the opportunity to experience different ways of singing psalms and canticles, which I assume is the intention.

The first is a monastic style, chanted almost on a monotone. Often the penultimate syllable of the line is stressed or extended in a way that sounds ‘religious’ but does not fit the sense of the words.  This style has the advantage that when singing prose just about anything can be fitted to it,  I have my doubts, though, as to how well a congregation could master it, or whether it might be so monotonous that they might not want to.  That is particularly so in that almost all (possibly indeed all) those used have been single metre rather than double. That is to say, each verse is sung to the same chant. I also think that it is very dependent on being sung in a resonant building with an ecclesiastical echo. It would sound a bit thin and reedy in a small chapel or village church.

The second is conventional Anglican chant.  This is the style to which I was referring on the front page of this website,

“For about 110 years, 1860-1970, it was normal for congregations to chant the psalms in prose. There are still plenty of people living, elderly or in late middle age, who experienced this. Alas, although it may sound beautiful sung by a trained cathedral choir on Radio 3 on a Wednesday afternoon, for ordinary people prose sung that way is as good as unsingable.”

The St Martin’s Voices seem to use this style less often than the other two.  When they do, one thing it demonstrates is that that musical tradition works absolutely fine with modern words. It is not dependent on the Coverdale translation in the 1662 Book of Common Prayer.  Nor does it seem to cause any problem when they take such a chant and use it for one of the Common Worship canticles. It has an additional advantage that many Anglican chants are double metre, with a second related chant for each second verse. So it is nothing like as monotonous.

The third stye is what I’ve been wondering whether to call Nouvelle Cuisine chants or Psalmodia Moderna.  I need to be careful what I say about these as I do not know enough about modern classical music not to put my foot in it. Some of them do work rather well. There is a particularly attractive one they use sometimes for the Magnificat. I cannot say the same for all of them. Some, I am afraid, give the impression that the composer imagines that all one needs to do to make something sound modal, or ‘religious’ is to end the line on the wrong note.  Modal melody is not melody with no structure. The dominant in D Dorian is still A. It does not become G just because D Dorian is on the same all white notes on the piano as C Major.  With that unpredictability of form, I think it would be next to impossible for a congregation to sing in that style. In addition, and this is something that applies to some of the monastic style chants used, many of them are almost painfully slow.  I think there is an additional explanation for this, see further down the page, but it is noticeable that they dwell on the resonances of the building the choir is singing in, at the cost of the sense of the words.

Like the monastic style, some of them also do not really fit the rhythms of English very well. Quite often they extend the penultimate or the antepenultimate syllable of the line in a way that is just not how English works.

Conclusion

The conclusion that I have drawn from this is that for all that I said about Anglican chant being for ordinary congregations unsingable, for all its limitations, the other two styles strike me as being even less singable and less suitable for congregational use.  If one is determined to sing prose,  Anglican chant remains a better option than the others. 

An extra – Singing and the Schwa

There is something else which I think might explain this.  Style one, monastic chant, was originally designed to be sung in Latin.  Whatever some may claim, nobody really knows how those who spoke Latin as their first language pronounced it.  Most of Latin’s career as a liturgical language has been long since the last native Latin speaker died. Nevertheless, the two major modern languages that are closest to it, Italian and Spanish, share a feature which makes them different from English.  In both languages, all vowels are pronounced as definite and distinct vowels.  That may have been the case with Latin.  It is known that the metre of classical Latin verse, what words can and cannot go where, was described as having depended on the length of their vowels.  

A marked feature which English shares with German and a number of other languages in Northern Europe, is that they contain stressed and unstressed syllables such that the vowel in an unstressed one is likely to shrink to a schwa, phonetically shown as an ‘ǝ’.  Even unstressed vowels which do not shorten to schwas remain unstressed. The ‘e’ in ‘the’ before a consonant is a schwa. The ‘e’ in ‘the’ before a vowel is an ‘i’ but is unstressed. Say them and see. Length of syllable as a metrical concept is meaningless in English verse, where the metre is driven by stress, So much is this so, that English children being taught about Latin verse will automatically read the metre so as to put the stress, in its English sense, on the syllables that in Latin count as long ones, irrespective of whether that was how they were read in Latin or what Latin might have sounded like when it existed as a vernacular.

Some languages have schwas and some do not. By and large, the two Southern European languages I mentioned do not. At any rate, by the time most current music composed to be sung in Latin was written, the writers were likely to be people who spoke languages which did not have schwas.

Where this is getting to, and where some readers may find what I am saying controversial, is that trying to sing English words to a style of music where each syllable is sounded with a full vowel does not work. Musically, it may sound beautiful, but as song, it is painful. Nor does it work, even if you are an English composer, to try to compose tunes even for English words in a style that was originally developed for singing in Latin.  This does not just apply to the monastic style of chanting. It also applies to a lot of Psalmodia Moderna.  In English there is no need to enunciate each syllable quite so distinctively, just as there is no need to pronounce ‘the’ as ‘thee’ as though it were a 2nd person singular accusative. I have mentioned before that ’Spirit’ is a difficult word to make scan. It definitely is not ‘Spee-reet’.  

Anglican chant was developed for singing prose in English. It reached its recent form between 1800  and 1950. For all my grumbles about it, it turns out that it can handle the rhythms of spoken English, its flexibility and its stress patterns far better, and far more comfortably than can a style of music designed for singing Latin or Italian. Metre is far easier to sing and far more suitable for congregational use than any of them, but if you want to sing prose, Anglican chant is a great deal more suitable than either monastic style chant or Psalmodia Moderna.

As I have already hinted, it has an additional virtue as against both the other styles. Because it has naturally evolved to accommodate a stress based language, it is not as painfully slow as both the other styles can be.

The Picture

This is a small oil painting of Chelvey Church looking across low lying land south of Nailsea in North Somerset, with the western end of the Mendips behind, in late winter. It was quite a dull, muddy, misty sort of day.

Psalm 136 – His mercy endures for ever

Introduction

This wonderful psalm, Psalm 136, is unfortunately a problem for modern users. For once, it is not the sentiment. No babies are being dashed against any rocks. The self-consciously virtuous are not rejoicing in the destruction of the wicked. It is just that for modern tastes, this psalm is long and repetitive. There is an inspiring list of God’s goodnesses, his favours, 26 of them, with a refrain repeated 26 times. This is not quite as repetitious in the original. The Hebrew is fairly terse but in a way that is difficult to replicate in English. The refrain is

כִּי לְעוֹלָם חַסְדּוֹ

ki l‘olam ḥesed, three words and six syllables. Depending on how one prefers to render ḥesed, that translates as ‘for his steadfast love lasts forever’, six words and nine syllables. ‘Mercy’ in stead of ‘steadfast love’ reduces it to eight, but is inadequate for all that ḥesed conveys.

The refrain appears elsewhere in the psalter, such as Ps 107:1 and Ps 118:1-4 & 29, but nowhere near the number of times that it does in this psalm. It is also quoted several times elsewhere in the Old Testament. It was sung at  at Solomon’s dedication of the Temple, see 2 Chron 7:3-6. Other references include 1 Chron 16:41, 2 Chron 5:13,  2 Chron 20:21, Ezra 3:11 and Jer 33:11.  This suggests strongly that this phrase, this psalm, or both were liturgically widely known and popular in ancient Israel both after and before the exile and that even if this psalm in its present form is post-exilic, it has pre-exilic antecedents.

There are already two versions of Psalm 136 in the collection. Both, in my opinion, are excellent. One derives from the Tate and Brady version and is in 148th metre. It is set in the collection to the tune Croft’s 136th. The  other is the full text of Milton’s well known “Let us with a gladsome mind”, set to its usual tune of Monkland. Few will have sung the whole of Milton’s version or be familiar with it. It runs to 27 stanzas. It also includes some references that would mystify most people. Pharaoh is at one point described as ‘the Tawny King’. I have not managed to find out what Milton is referencing there. The Red Sea is ‘The ruddy waves … of the Erythraean main’. The Tate and Brady version is less obscure, but still quite long, twelve stanzas, even given that the chorus  only repeats twelve times in stead of the full twenty six. That version of the chorus is quite long at sixteen syllables.

I felt it needed a new version. So here it is in 8.7.8.7. D metre. There is a section further below headed ‘The pains of composition’ that explains why and how, but the text takes priority.  This psalm has no headnote. I have added a Gloria in the same metre.

The words

1.	The LORD is good, him thank and laud:
		His steadfast love lasts ever.
2/3	Of gods he’s God, of lords he’s Lord:
		His steadfast love lasts ever.
4.	Who wondrous works alone can do:
		His steadfast love lasts ever.
5.	By wisdom made the heavens too:
		His steadfast love lasts ever. 

6.	Who oe’r wide waters spread the earth:
		His steadfast love lasts ever.
7.	Who brought the cosmic lights to birth:
		His steadfast love lasts ever. 
8.	The sun to rule the day by light:
		His steadfast love lasts ever. 
9.	The moon and stars to rule the night:
		His steadfast love lasts ever.

10	He struck the firstborn of Egypt:
 		His steadfast love lasts ever.
11.	To bring out Israel whom he’d gripped:
		His steadfast love lasts ever.
12.	With hand and outstretched arm held sway:
		His steadfast love lasts ever.
13.	He cleft the Red Sea for their way:
		His steadfast love lasts ever.

14.	Who brought Israel the waters through:
		His steadfast love lasts ever.
15.	But Pharoah’s hosts he overthrew:
		His steadfast love lasts ever.
16.	 Led his stock through the wilderness:
		His steadfast love lasts ever.
17/18. And smote down kings in their greatness:
		His steadfast love lasts ever.

19.	Sihon, king of the Amorites:
		His steadfast love lasts ever.
20.	And Og of Bashan put to flight:
		His steadfast love lasts ever.
21.	He gave their lands as property:
		His steadfast love lasts ever.
22.	To his Israel to hold in fee:
		His steadfast love lasts ever.

23.	He thought of us abased and low:
		His steadfast love lasts ever.
24.	And rescued us from every foe:
		His steadfast love lasts ever.
25.	Who gives food to the earth’s children:
		His steadfast love lasts ever.
26.	Laud and thank the God of Heaven:
		His steadfast love lasts ever.

	To God, the Father and the Son:
		His steadfast love lasts ever.
	And God the Spirit, three and one:
		His steadfast love lasts ever.
	As was and is shall always be:
		His steadfast love lasts ever.
	Glory for all eternity:
		His steadfast love lasts ever.

The tune

The tune is a German chorale Ermuntre Dich originally by Johann Schopp (?-1665) and harmonised by Johann Sebastian Bach (1685-1750). The version in most hymn books is set to be sung in unison, but the Scottish Church Hymnary of 1927 also provides a harmony setting. There, it is linked to a hymn with three verses, with the suggestion that the harmony version is used for the middle one. I have been unable to discover whether both are by Bach or whether one is the original Schopp version, or if so, which is which.  The version that will accompany this psalm in Book 5B will be the better known unison one, as is the one I have sampled for Soundcloud but they will both be in the tunebook.

This is the Unison version

And this is the Harmony version.

Here is the link to the tune on Soundcloud.

Singing suggestions

It has been widely assumed over the centuries, in my opinion correctly, that this psalm was designed to be sung antiphonally, either by two groups of cantors backwards and forwards across a space, or by a choir and congregation. Options would include varying between the unison and harmony versions, or even for a choir to sing the eight syllable verse lines using the harmony version, and the congregation to answer with the seven syllable chorus using the unison version.

The pains of composition

One of the things I wanted to do to help create something more of the original experience of this psalm was to make the language more compact than the Milton or the Tate & Brady versions in the collection and in the case of the latter, to repeat a shorter refrain more frequently.  It occurred to me that one way to do that and also to mitigate some of the monotony of 26 repetitions would be to set the psalm to a tune where the refrain repeated, but the tune would be similar but not identical with each repeat. Preferably, also, the verse lines should be longer than the refrain lines. Initially, I looked to see if I could find a tune in 10.8.10.8.D but failed. I then found one in 9.8.9.8 D, a Genevan tune that originally went with their psalm 118. So I wrote a version to fit it. For an eight line metre I needed to compress two of the verses so that the total was a multiple of 4, i.e. 24 and not 26. That attempt did fit, and gave a good refrain but I could not help noticing that a nine syllable line does not have a rhythm that works well as English verse. It was the verse line that needed to work and it proved a difficult metre to write to. It was not very singable and did not produce a rhythm that flowed.

I then remembered that there are a number of good tunes in 8.7.8.7.D. I have commented before that I do not find seven syllable lines easy to write to. There is always a puzzle where either the extra or the missing syllable should be.  However, if I could produce a decent seven syllable version of the refrain, I would only have to do it once. The verses would simply need to be in Long Metre. So I rewrote my previous 9.8. version and found it fitted the slightly shorter lines better.

So far so good, but I then found that as with ten syllable lines, 8.7 tunes are nothing like as interchangeable as either CM or LM ones. A hymn in that metre is quite likely to be unsingable to a tune that goes well for another hymn supposedly in the same metre. The chapter on this website entitled ‘Metre’ hints at some of the reason why. A seven syllable line will usually have either an empty or an extra half foot somewhere in it, but where it comes, how it behaves and the rhythm it demands will vary.  I am not as yet quite sure why, but this also seems to be more likely to affect the previous eight syllable line than with a CM or LM tune. Furthermore, many seven syllable lines of music will have originally been written to suit the speech patterns of another language. The way German grammar works, for example, means that it is more likely than in English for there to be a word with a soft, unstressed, syllable at the end of the line. As Ermuntre Dich was originally written as the tune for German words, I think that is the reason why the chorus fits ‘His steadfast love lasts ever’ much better than ‘His steadfast love ever lasts’.

The Picture

In June 2018 I went on a short retreat that was held in Salisbury. This was not long after the Novichok poisoning of Sergei and Yulia Skripal in March that year and, indeed, before the tragic additional poisoning of Dawn Sturgess and Charlie Rowley. The cathedral had already programmed the exhibition of an installation of white origami doves by Michael Pendry. Salisbury was getting many fewer visitors than usual as a result of the poisoning. The doves were spontaneously adopted throughout the city as symbols of hope, with shops, pubs etc putting up their own white origami doves throughout the city centre.

The photograph is taken looking up the central aisle over the font, which is a modern one constantly replenished from the springs underneath the city. So the doves are reflected in the baptismal waters. It is noticeable that quite a lot of people instinctively dip their fingers in the water as they go past.

There is a slight irony about Salisbury and water. The original Salisbury was on top of a bare hill about two miles north of the present one. It was fortified on rather a cramped site, and the bigger it became, the more it was also increasingly short of water. Eventually in the early thirteenth century the dean and chapter got permission from the Pope to move their cathedral down onto the water meadows below. They built the cathedral that is now there. The entire civil community followed them, leaving the old city unpopulated, a source of building stone, though it continued to be represented in Parliament by two MPs as the ultimate in rotten boroughs until 1832. The modern Salisbury, on semi-waterlogged ground is full of streams, watercourses and islets, which in normal times make it a delightful place to visit but put parts of it at risk of flooding.

Tribute to the Revd. Lee Barnes – Psalm 44

It’s over a year since I last posted anything, but I have recently written two new psalm versions. This is the first, Psalm 44. I hope the second will follow reasonably soon.

The version of Psalm 44 currently in the collection derives from The Old Version, Sternhold and Hopkins, with some modernisation. The headnote starts with the comment,

“The original is one of the most vigorous in the book.  Nevertheless, it has been altered to condense it and bring it more into line with modern usage.”

It has its own, original tune, Old 44th in Double Common Metre (DCM). In DCM it has nine stanzas, eighteen if one were using four line stanzas. It is a psalm which starts on a familiar theme, but then moves in a slightly unusual direction. The references to stanzas are those in the new version below.

  • Lord, you cared for our ancestors, drove out the heathen and settled them in the land (first stanza below)
  • You have cared for us in the past, (second and third stanza).
  • But now you have abandoned us, (fourth stanza)
  • Our enemies triumph over us. The land is degraded. Your name is shamed among the heathen. (fifth stanza)

It then, though, changes tack. In stead of bewailing how the wicked flourish or recognising that God has rejected us because we have been unfaithful, but we need to repent, it switches to bewilderment.

  • Why has this happened? We’ve been doing all the right things. We haven’t forgotten you. We haven’t worshipped other gods. But you seem to have forgotten us. Why? (sixth and seventh stanzas)
  • Come, Lord, up and do your bit. (eighth stanza)

It doesn’t even ask whether there might be some flaw the nation or its leaders have missed.

What prompted me to write this was that our vicar was leaving us to go to new post. I wanted to provide him with a tribute. There had been a period during his time with us when the two parishes he had been leading had almost adopted that psalm as their theme. We felt that we were doing all the right things and yet nobody seemed to be listening. The multitudes were not flocking in. So as that tribute, I thought I would produce a new version of this psalm. It has a ‘Proper Tune’, which dictated that the new version would need to keep to the same metre. I would, though, take the opportunity to try to make sure that in this version, as far as possible, the points when the psalm moved between the topics within its overall theme, would coincide with the verse divisions. In the old version that had not been so.

Compared with some metrical psalms, the previous version was fairly compact. Even so, I have managed to reduce the whole to eight eight line stanzas, i.e. sixteen four line ones. That is still quite long, but I am not sure it is possible to compress the argument further without losing accuracy. So, here is the new version. In the next revision of Book 2, it will replace the current version.

As with some other psalms, this is one where the verse numbering varies between translations. This seeks to follow the numbering in the previous version and the Common Worship psalter. The reference to ‘shambles’ was in the previous version and I could not resist retaining it. It is an old expression for the meat market and is still found in some street names. Its idiomatic use now refers to the flyblown disorder of a pre-modern meat market. It is virtually the only phrase carried over from the previous version.

1.	Our ears, Oh God, have heard the things ~ our ancestors have told,
2.	The deeds you did, to clear our soil ~ of foreign tribes of old.
	How you drove other nations out ~ by your all powerful hand:
 	To plant our fathers in their place, ~ to flourish in the land.

3.	Not by their own sword did they win ~ what you gave them to till.
4.	But by your hand, your arm, the light ~ of your face, your goodwill.
5.	My king and God, come now: command ~ for Jacob salvation. 
6.	By your name did we gore the foes ~ who challenged our nation.

7.      I place no trust in any bow: ~ nor can my sword save me,
8.      But you have brought those that hate us  ~ to shame and infamy:
	You’ve saved us from their threatening grasp; ~ our foes you overcame.
9.	So God we’ve praised you every day: ~ we’ll always thank your name. 

10.	Yet us you’ve spurned, shamed and dismissed: ~ our troops you’ve cast aside:
11.	You’ve made us flee before our foes: ~ our goods they’ve scattered wide.
12.	Through all the world have you strewn us: ~ slain as are slaughtered sheep:
13.	No price nor value asked for us: ~ you’ve sold your people cheap.

14.	You’ve made of us a laughing-stock ~ to those that round us dwell.
15.	They mock and scorn, they shake their heads: ~ a taunting tale they tell.
16.	All day I am disgraced: I blush ~ at those who jeer and curse:
17.	At enemies, avengers who: ~ with words and slights coerce.

18.	For we did not forget you: nor  ~  did we your cov'nant break:
19.	Our hearts did not turn from your ways: ~ did not your paths forsake. 
20.	Yet us you’ve crushed where jackals lurk ~ in lairs of foetid breath:
	 And over us you’ve spread a pall, ~ the shadow of dark death.

21.	If we’d forgotten our God’s name, ~ if other gods we’d sought:
	Would you not search and read our hearts; ~ you know each secret thought 
22.	Yet it’s for you we’re daily slain: ~ in your cause that we’re spent:
23.	We’re reckoned no more worth than as ~ sheep to the shambles sent.

24.	Up Lord. Why do you sleep? Awake: ~ why have you hid your face?
25	When scourged why have we slipped your mind? : ~ our souls know dust, disgrace.
26.	Our bellies cleave to the raw earth: ~ up, help us; we’re in need.
27.	We ask you, by your steadfast love,  ~  come, rescue us with speed.

The tune

The existing tune is Old 44th. It’s all right, but not that exciting once one discounts the attractive thought that it goes back to the sixteenth century. It did not even make Playford in the next century, but I found a copy in an old Methodist hymn book. I added a little extra ornamentation but you may wish to add some more. It both accompanies Psalm 44 in Book 2 and is in the tunebook. There, and on Soundcloud, it is in A♭ Major. When it appears at all in historical sources, that is the key in which it seems usually to be set. Here also is a link to the Soundcloud sample . Here, as an alternative, is Old 44th raised a semitone to A Major, which I think is an easier key to use.

My own view, though, is that the new version goes much better, in fact rather well to the DCM version of Llangloffan, the third of the three tunes featured in my blogpost of 10th October 2019. I am considering at the moment whether when the Third Edition appears to bring Llangloffan into Book 2 and just make Old 44th available in the tunebook.

This is a link to the Soundcloud sample, Sample of Llangloffan in DCM

The picture

The picture is my painting of the western end of Bristol Docks looking towards the Underfall Yard and two of the three former bonded warehouses on a breezy summer’s afternoon. The only direct relevance to Psalm 44 or this blog is that it is in one of Lee’s two parishes. I like it, and it is a scene that is threatened by a controversial development proposal that has at the moment been deferred for further consideration, but which remains as a major threat both to the historic city docks and to the view of the Avon Gorge and the Clifton Suspension Bridge.

Great News – the 2nd Edition.

The Gaia Globe in the Great Hall in the Wills Building, Bristol University.
The Gaia Globe from last year (April 2019) in the Great Hall in the Wills Building, Bristol University.

The 2nd Edition of the Psalms

Some more good news. I have just placed on the the Download Page ” How to find what you are looking for – Downloads ” pdfs of the 2nd Edition of the entire psalter. As before, they are in six sections, Books 1-4 and Book 5 divided into two sections, Pss 107-119 and Pss 120 – 150. Again, as before, there is a selection of doxologies after Psalm 150. The 2nd Edition of the Canticles, Book 6,  and of the tunebook have been there since the 14th of April.

The main differences from the previous editions are,

    1. I have tidied up the text and, I hope, improved some of the language. In addition to simple corrections, this has been driven by a desire to make the renderings into English more accurate as translations, to retain more of the imagery in the original and to improve euphony. I have also tried to make sure that so far as practical, this edition replicates in English where original uses the divine name. This is done in the conventional manner by using LORD in capitals.
    2. The Second Edition now includes those psalms that were updated in the blogs since the First Edition or where an alternative translations had been added. The most noteworthy of the rewritings are Ps 1, see Psalm 1 – a new draft  and Ps4, see Psalm 4 Revised
    3. The significant additional alternative are for Pss 37, 42, 43 in different metres, see Three New Psalms , and Ps 54, see Psalm 54 – Bryn Calfaria
    4. Book 1 also includes a setting of the classic Scottish tune St Georges Edinburgh for Ps 24, see A tune for Psalm 24

As with Book 6 and the tunebook, these download versions also include a pdf index. This probably will not be if you open one of the pdfs in your browser, but by clicking on a page number in the Table of Contents, you may well find your browser will enable you to jump to that item.

As with the posting of the 2nd Editions of Book 6 and the tune book, for the time being I have left the old editions on the download page. However, I have been concerned to notice from the statistics that WordPress gives me that since I posted the second editions of Book 6, quite a few people appear to have carried on downloading the old editions. Please don’t. Please use and download the new editions. They are better, in some cases, much better.

What remains to be done?

I am intending to produce a Second Edition of the Annotation Table and hope to do that shortly. I have been considering whether or not the Preface needs a Second Edition. Beyond that, the major task remains finding a way of making the tunes available in a format so that you can, if you wish, import them into music writing software. This involves resolving two different issues,

    1. How possible it is to make them available in a universal format of some sort that people can import in usable form into whatever music editing software they use? Does such exists? and
    2. If this is possible, where to put the files so that you can access them? WordPress only allows one to make available material for downloading in a limited number of formats. As far as I can ascertain, this does not include anything that could be used.

If any of you have any suggestions, please add this in the comments below or write to me via the link on the About me page.

 

A double yoke for Easter 2020 – 2nd Edition of the tunebook and Book 6

Nativity
Abstract – any thoughts as to what might have inspired it?

At last

This has been pending for far too long, but at last, a gift for Easter and from the Covid 19 lockdown, I have uploaded and can release the first phase of the Second Edition. This first instalment consists of the second editions of the Tunebook and Book 6.  They are now on the download page (How to find what you’re looking for) in pdf format.  I’m issuing those two first. Those are the parts of the collection where the original edition is now most out of date.  They do not contain material that is actually new. However, in both cases, they do contain material that until now, one could only find either by scouring through the blogposts or by knowing what you’re looking for before you start.

I have taken the opportunity to tidy up and improve some of the wording over the original versions. I have also indexed the pdfs. This probably will not be visible if you are viewing a pdf on screen, but should be if you download it.

The the terms of the licence to use the collection remains the same.

I’m intending to update the other parts and am working on this. This does unfortunately mean that the Annotation Table is now out of date, and will almost certainly remains so until the whole of the Second Edition is on this site.

So what to do

Go to the Download page . You will see that in the list of downloads, the tunebook and Book 6 are now listed as 2nd Edition. Click on them and they should download to your computer. For now, the previous editions of the tunebook and Book 6 are still available from further down the page. For the time being, I shall leave the previous editions of both books on the website, but in due course, I do intend to remove them.

Meanwhile a correction

I noticed recently that in stead of displaying the tune Taylorburn, the blogpost for October 10th 2019, Three new tunes and an extra verse was incorrectly displaying the tune Heath, twice. I have corrected that post. The middle tune shown on that page is now Taylorburn.

The Picture

This is an abstract, but it is inspired by something that may be well known and familiar. Any thoughts as to what?

Three new tunes and an extra verse

West Allendale stamped image.php
West Allendale above Taylorburn, downloaded from Geograph © Mike Quinn

I haven’t posted recently. I have been working on the Second Edition of Books 1-6 and the Tunebook.  This has not been progressing very fast.

Meanwhile, though, I thought I would share three tunes. Each of them has something slightly unusual about its history. In each case, also, I have not yet decided to which psalm or canticle to link it.  If you have any suggestions for these, please make them in the comments section. 

As I am beginning to approach the limit of capacity of my Soundcloud subscription, I have also not yet decided whether to find three existing tunes in the tunebook and on Soundcloud to drop, and if so, which ones. Again, I’d appreciate any suggestions as to ones anyone feels I could drop, or under no circumstances should.

1. Heath – an attractive CM tune

I’ve mentioned Conor Quigley before. He has an interesting webpage, The Psalms of David – Sung a cappella linked to a Soundcloud page with his material. About a year ago he posted what I thought was a really attractive setting of Psalm 23 by the Bon Accord singing group from Trinity Reformed Presbyterian Church, which I think is in Newtownabbey near Carrickfergus in Northern Ireland. The words were the familiar Scottish ones from the Rous psalter of 1650 but the tune was one I had never heard before. He named it as Heath. After I had got back from holiday and had caught up with the backlog of other things waiting for me, I did some research on the internet.  The only source that seemed to have any record of a hymn tune called Heath was hymnary.org, which had a few examples from the nineteenth century of what turned out indeed to be the same tune. 

This also demonstrates that whoever leads the Bon Accord singing group has a real talent for arrangement. Their version is much better than the original. The way the parts are timed, handled and make their entrances and exits in successive verses has been developed imaginatively. Here is a link  to the page with their version. 

Next, here is the sheet music, alas, not for theirs but for the simple four part version. It should not be played too fast. Although usually I prefer to ensure that the sheet music line ends coincide with the lines ends in the words, when I tried to compress the music into two lines, the notes became unreadable. 

Heath in Hymn Format
Heath – this is the tune I believe to be wrongly attributed to Lowell Mason.

And here is a link to my Soundcloud sample, which compared to the work of Bon Accord does not do justice to the tune’s lyrical potential. 

Link to sample of Heath CM.

Who composed it?

My research also revealed what I think is an intriguing puzzle. Hymnary.org attributes the tune to Lowell Mason (1792-1872). It even gives it a date of first publication of 1835. 

I was puzzled by this. I have been critical of Lowell Mason. I have even described his contribution to hymnody as ‘baleful’. Also, I am no expert on his life. Nevertheless, I find it difficult to believe that he wrote this tune. Neither the tune nor the arrangement – even if that should be from a different hand than the melody – sound or feel to me like his style.

Hymnary.org refers to six instances of the tune, but only reproduces five.  It turns out that three out of that five look like reissues of the same or related books between 1886 and 1891. In each case, Heath is for the tune to the Tate and Brady version of Psalm 42, As pants the heart for cooling streams, as abridged by the Revd H. F. Lyte. The attribution to Lowell Mason and the 1835 date comes from those.

The other two instances are from nearly forty years previously, 1841 and 1849, both published in Boston (Mass). In its 1841 appearance, Heath is the tune to the Tate and Brady version of Psalm 23 “The Lord Himself, the mighty Lord, ~ vouchsafes to be my guide”. The 1849 example provides it for an altered version of Isaac Watts’s rendering of Psalm 133. Both differ from the later ones in at least three significant ways. First, both are anonymous, unattributed. Second, as was still not unusual at that date, the melody is in the tenor.  What in the later version has become the tenor line, is the counter or boy’s part. Third, the initial quavers are dotted and so are those that come at the beginning of the second line. This is something which in use could be varied between the verses.

What is significant, though, is that Lowell Mason was the editor responsible for the 1841 publication.  If he published the tune without attributing it, I think we have to assume that he did not write it and was not claiming to have done so.

The 1849 book has a different editor. Since it was also published in Boston and unattributed, at a time when Lowell Mason was alive and a respected and well known citizen of the city, I think we again have to accept a presumption that in 1849 it was neither attributed to, nor claimed by, Lowell Mason as his own composition.

So, if Lowell Mason did not write it, who did? The tune and what was originally the counter part, but by the 1880s, dropped an octave to become the tenor one, are both fairly ornamental, with several melismas, sometimes but not invariably matching. The alto and bass parts are less florid, carry the rhythm and are harmonically sometimes quite adventurous.

‘Heath’ is not a particularly interesting name. Hymn tunes of that era are often named after places. On it’s own, though, Heath is not that frequent as a place name. Like ‘Common’, it’s more often the second half of a name. So is it just possible it might preserve the name of somebody who wrote it or had something to do with its transmission? I suspect we shall never know and there is no way of finding out. In style, I would suspect it was written sometime in the sixty years before 1841.

2. Taylorburn/Derby?

Over twenty years ago, in a bookshop in Hay-on-Wye, I came across and bought a late eighteenth century prayer book and Tate and Brady psalter. It had clearly once belonged to successive generations of farmers in West Allendale, Northumberland, at least one of whom had played in a church band sometime between 1790 and 1850. It had bound into it lined music sheets on which he had written out the parts he played, usually melody lines. Among them is the ‘air’ part for a tune he has marked as for Psalms 33 and 128. I recently realised it had possibilities. A search of Nicholas Timperley’s Hymn Tune Index at the University of Illinois, http://hymntune.library.uiuc.edu/default.asp revealed this to be Timperley’s tune 2629 and called ‘Derby’.  There were records from between 1763 and 1784. I could find no accessible examples from which to extract any of the other parts. I therefore decided to have a go at producing my own four part version. I have made no attempt to replicate the musical style of the time. Here it is,

New 33rd v 2 orse Derby in Hymn Format
Taylorburn, G Mixolydian

And here is the Soundcloud sample. 

Link to sample of Taylorburn in CM.

Perhaps proper musicians will tell me I am talking nonsense, but it seems to work best if one treats it as modally ambivalent, undecided whether it is in the ordinary Major mode or Mixolydian. I felt it did not work as well when I tried to force it into one mode all the way through. As there are other tunes called Derby I am renaming it Taylorburn in this collection after the address in West Allendale in the psalter.

3. Llangloffan

You may know this tune. It appears in a number of hymn books, usually in G Minor. I had better give an explanation why so far as this collection is concerned, it has a slightly unusual history. 

This is because it is invariably listed as 87 87 D. I realised that by making a few alterations to the last bar of the seven syllable lines of the tune, it could fairly easily be converted to Double Common Metre (DCM). in assembling this collection, I have always been on the look out for more DCM tunes. Even with revival of sixteenth and seventeenth century ‘proper’ tunes in that metre, there are not enough of them. Besides, although there are examples in the collection, I find the three and a half feet of seven syllable lines oddly difficult to write to. Does the ‘spare’ syllable come at the beginning of the line or the end?  If at the end, is the extra syllable a stressed one, with a gap instead of the unstressed syllable that usually accompanies it, or an extra unstressed syllable requiring a ‘feminine’ ending? If it needs to rhyme, does that force one into two syllable rhymes. I find similar issues arise whether the verse is 87 87, 77 77 or 76 76. Perhaps I have just got too much into the habit of writing in Common Metre or similar, but in each case, although plenty of others have written excellent hymns in these metres, when I try it feels as though there is either an extra syllable that gets in the way, or a syllable that is missing.  

Llangloffan appears to be occasionally attributed to a David Evans but he seems to have been the compiler of a Welsh Methodist hymnal Hymnau aThonau of 1865 which may have been its first printed appearance. In Britain it has been linked over the years to a number of 87 87 hymns, some of which have gone out of use or are not well known. It may be better known in the US, as there it seems to be linked to O God of earth and altar, which in Britain is usually sung to King’s Lynn. Llangloffan is in north Pembrokeshire, near Mathry.

So here it is in DCM, 

Llangloffan in Hymn Format
Llangloffan as a DCM tune

And here is a link to the Soundcloud sample, 

Sample of Llangloffan in DCM

4. Downloadable Samples

This is an experiment. I have recently discovered that the Soundcloud help files imply that it is possible to make the sound samples of the tunes downloadable. I have therefore tried to reset them to do this. Please let me know if you can or cannot now download them.

Alas, as far as I can see, it is only possible to download one tune at a time. I haven’t been able to find out if there is a way of making it possible to download either the whole collection or all the tunes in the same metre, all of them at once. If you happen to know a way, please let me know in the comments section below.

5. An extra verse for the Benedicite

The future edition of Book 2 will now include an extra verse in the Benedicite. I had previous left out the reference to Ananias, Azarias and Misael. Unless you know where the Benedicite comes from, that these are the other names for Shadrach, Abednego and Meshach, the three Jewish youths who were thrown in the burning fiery furnace, and that the Benedicite is what they sang in the furnace in the Septuagint account, that verse can be a bit mystifying. However, as it is in the original and the version in the 1662 BCP, in the interests of completeness, there will be an additional penultimate verse, as follows, which will be marked as optional. The diaereses are provided to assist fitting the names to the melody.

Bless the Lord Ananïas, ~ Azarias, Misaël,
Bless the one who’s rescued you ~ from the furnace, fierce and fell.
……….Bless the Lord and sing his praise ~ Exalt him, ever, always.