the eighteenth-century hymn tune

The Eighteenth-Century Hymn Tune At tht kind invi1a1ion of tht UCLA Librarian 1961-197). Roben Vosper. tht/o/lowing paper was read at rite William Andrews Clark Mtmorial Library. 2520 Cimarron Strtet. Los Angeles. California 90018. on

March S. 1977. Mary Rawclifft. soprano. a11d Tlromas Harmo11. organist. cooperated in ptrforming the

musical examples.

N OT ONLY oto ISAAC WArrs' (1674-174C) and Charles Wesley (1707-1788) tower above every other hymn writer of their own times but also they still continue outranking all other eighteenth-century hymn writers in current hymnals. lf Watts's psalm imitations are counted with his hymns, he is represented by 31 texts in The Luthera11 Hyn111al compiled for the Synodical Conference in the 1930's, Charles Wesley by 12. 2 The Hynmal published in 1933 for use in the Presbyterian Church in the United States of America included 20 texts by Watts, 15 by Charles Wesley. So far as original hymn texts go, Charles Wesley was the largest contributor to The Hym11al J 9401 from any century. The same holds true for the 1950 edition of Hymns Ancienr & Modem (London: William Clowes & Sons) which contains 30 or 31 of his texts; Watts comes second in this same edition with 17 texts. The Methodist Hymnal (Nashville: The Methodist Publishing House, 1964)-of which "well over two million copies were distributed in the first year of publication. an event unprecedented in American publishing"'-included 72 Charles Wesley texts against 19 by Watts. Evcn the New Catholic Hymnal issued as recently as 1971 with a foreword by John Cardinal Heenan contains eight hymns with texts by Charles Wesley, six with texts by Watts. No other historie writers of original texts exceed these numbers in this collection of 305 hymns published by London Macmillan for Roman Catholic parish use. Baptist

'Edna D. Parks h3S traced the hymn before Waus in "English Hymns and thcir tunes in the Sixteenth and Se,enteenth Centuries." Boston University Ph.D. di\sertation. 1957. For summaries of her conclu· sions. see her pp. 286-287 3nd 438-440. She published a portion of her dissertation with the title Tlw Hymns rmd Hym11 T1111es Fo111rd i11 ,1,., E1111/isl, M,•triC'al Ps"lters (New York: Coleman-Ro,s. 1966).

Watt, did not invent the Enghsh hymn. Rather. his Psalms o/ David lmitutl'd i11 the Lui111uu11e of 1/11' Ne"· Trs1u111en1 (1719) captured the immediac) and v.armth of an airead) large body oí "old hymns of thc English Church." Sorne do,en of the best seventcenth-century Engli,h hymnists wcre listed in the ptefacc to A Collec1io11 of Hy,,11,s of tlll' C/ri/dr,•rr o/ Gutl in u// Ages (London: Printed and to be had at all Brethren\ Chapel,. 1754) to pro,•e that Isaac Watts's hymns "ere no Minerva ,pringing full gro"n from Jo,e·s forehead. Fi,e h)mns "ere prmted in the earliest Sternhold and Hopkins psalters: Lamentation of a Sinner. Lamentation. Humble Suit of a Sinner. Thanksgiving to be sung after the Lord'~ Supper. and Complaint of a Sinner. The Vi,11i C,eator hymn sung at ordination services in a translation borrowed from John Cosin'sA Co/l('ctto11 of Privut<' Del'Otio11s (1627)entered the Book of Common Prayer in lt,t,2. Wans's hymn·"riting predeceswrs also included Richard Cra\hª"· John Donne. Thom3s Flatman. Sir Ma11he" Hale. George Herbert. Nathaniel lngelo. Benjamín Keach. fhoma, Ken. Rhy, Pritchard, Joscph Stennett. Faithful Tate (Teate). and Jercmy Taylor.

'W. G. Polack. comp .. Tlw Ha11tlboolr. 10 the Lu1l1.-r<111 Hy11111u/ (SI. Lou1s: Concordia Publishing House. 1942). pp. 594-597.

'Joint Commission on the Rev1s1on of the Hymnal of the Protestan! Episcopal Church. TI,., Hy111,,ul 1940 Cumpu11im,. 3d ed. (New York: The Church Pension Fund. 1951), p. SQO. Watt, contributed 11 tcxts to Tire Hy11111ul 19-10.

'Emory Stevens Bucke. Fred D. Gealy. Austin C. L.ovelacc. and Carlton R. Young. Co111pu11io11 to th<'

Hynmal u l,u,,dbo,,lr. w tite 1964 Mnlwtl/St Hymrral (Nashville: Abingdon Pre,s. 1970), p. 61.

2 INTER·AMERICAN MUSIC REVIEW

Hym11al (Nashville: Broadman Press. 1975) included 15 texts by Watts, 10 by Charles Wesley.

Without furthcr counting of their texts in this or that contemporary hymnal, it will perhaps be conceded that the numbers already cited do sufficiently confirm their con· tinuing unique significance wherever English hymns are sung. However, the next and more relevan! question for us is the problem of the tunes to which their still current tcxts are today sung. Categorically, it can be stated here at the outset that their texts are wcddcd in contemporary hymnals to tunes different from those to which they were sung when text and tune were in their own century first published conjointly. This rule holds even when such an eighteenth-century tune as ST. ANNE (1708) joins a Watts psalm imitation. "Our God our help in ages past" (1719). Texts such as Watts's "When I survey the wondrous cross" of 1707 or "Joy to the world, the Lord is come" of 1719. Wesley's "Jesu. lover of my soul" of 1740, "Love divine, all loves excelling" of 1747. and "Soldiers of Christ. arise" of 1749 are today sung by millions to the nineteenth-century tunes HAMBURG (1825), MARTYN (1834), 8EECHER (1870). and DIADEMATA (1868). These same singing millions would be today utterly affrighted and bewildered by the tunes entitled ToMB STONE. ' HoTHAM. WESTMINSTER! and HANDEL's MARCH. prescribed specifically for "When I survey," "Jesu. lover," "Love divine," and "Soldiers" in English tune books of the l 760's.

The first comprehensive American tune book. James Lyon's 198-page Ura11ia (Philadelphia: [ Henry Oawkins]. 1761 ). contains Charles Wesley's "Rejoice the Lord is king" (1746) joined at pages 186-187 with the tune by John Frederick Lampe ( 1703-1751) to which it was first wedded in the 1746 Hym11s 011 the GreM Festivals. a11d other Occasio11s (Hymn VIII); Charles Wesley's "Glory be to God on high" (173()) joined at page 183 to the anonymous tune published with the title EASTER

' John Worgan ( 1724-1790). composer of ToMB SroNE. setting Wa11s's "Whcn 1 survey the wondrous Cross" ( 1707) in John We\ley'~ Sucred Mefocly ( 1761 ). rankcd with Handcl a, a virtuoso organist. As a composer. he was reproached by Charles Burney for cxces,ive originality (in Abraham Rees. Tl,e Cyrlopuedit1: or. U11iwrS<JI Dic1io11<1ry• [London: Longman, Hurst. etc .. 18191. XXXVIII. folio 452). But in \uch a powcríul melody as ToMB SroNE, Worgan anticipated thc soulful cantilena of the Romantic licd. He taught Charles Wc,ley. Jr .. and was an intimatc of the family. R,•vrese,11a1iw V1•rs,• o/ Churles Wesley. editcd by Frank Bakcr (London: The Epworth Prcss. l %2). p. J24. contains the exquisite threnody "On the Dcath of Charle\ Worgan. agcd 17 or 18."

The ill fitting of thc Wat1~ tcxt in SacrNI Melody: or A Choice Co/l,•c/Ío11 o/ Psalm ancl Hym11 T1111es. wi1h a Sl1<m /n1md11c1i,m (London: n.p .. 1761 ). p. 56, revea Is ToMB STONE to havc bcen a contrafactum. "Hark. hark. 'tis a voicc írom the tombs," thc original tcxt by Thoma~ Moore. accompanies thc tune in Thomas But1s's Harmo11ia·Sacra. 2d cd. (l.ondon: c. 1765). and again in Joseph Ritson's A Se/ec1 Co/lec· rio,r of E11glish S011gs (London: J. Johnson. 178J). fol. 1881 verso.

'HoTHAM. the tune for "Jesu. lovcr of my soul'' that first appeared anonymously in the London 1765 edi· tion of St1rn•d Me/ody. was claimed by Martín Madan ( 1726-1790) as his composition in the so-called Lock Hospital A Cullec1iu,1 o/ Psu/111 ,wd Hymn T1111es ( 1769). Not only in England but in both northcrn and southcrn Unitccl States it enjoyed great popularity. Lowell Mason includcd a four·part ,·crsion in h1\ maiden collection published at Boston in 1822. Charles Southgatc of Richmond, Virginia. arranged a piano-accompanied version published postbumofüly in his Ht1rmo11i11 S<1crn (c. 1818). pp. 18-19. WESTM1NSTER. no rclation to tunes of that namc in present·day hymnals, was publi\hcd anonymou,ly in Sucr,•d Me/ody ( 17ól. 1765, 1770). Henry Purcell's air for Dryden·s lincs bcginning "Fairest lsle. all lslcs

cxcelling" in the last act of Ki11g Arthur ( 1691) is its so urce. ·"Soldier~ of Christ. arise" is set to a tune in S11aed M,•lody and Sucrc•cl H"rmo11y (1761. 1788) callcd

HANoEL's MARCH that had earlier been entitled lERrcHO (A Coll<'ctirm of Tu11Ps [Foundery Collcction]. 1742: Hymn 4). The tune sourcc is thc first violin part in the magnificent march introducing thc Sce11u 11/rimu in Handcl's Ricctirdo Primo (Werlce. vol. 74, p. 118).

The Eighteemh-Cemury Hym11 Tune 3

17.z 9ad,u'J

,-

t~y<>•ldlh¿ - ,..± .

1 Jj -kJF:¡;Ji-,) J!Jj J l@JJ g !11=---=--hnmdí. 11>hue .r!a ......... r.,, ~1'l!'lt>e lhm; /di!; r11Mi.-l.,. ·

~l 3 :cc:J :::::::=::::&±:q:::~-ffi j I ffiJ_j o lf1=- ;¿-

--

g 1 1 1 i 0 fT l E i?f1! 'l F r ! i J ¡ ,J J I ,, 11" 2~

itffd-lill.if~iw¡:19..@J ilGft F Id J ! " 11,, ZEl=,

:;í{¡;:J;,~,!,;,i: .. ....... ...... Yt~a!/,~,lc;~,u;1 'f"1r'r-tl1~ tia .

Both PALMl0

S and ITALIAN-shown here in reduced Uru11ia (Philadelphia: 1761) facsimileswere published in Thomas Butts·s Harmo11ia·Sacra. first through third editions (London: c. 1760. 1765. 1770). in John Wesley's Sacri•d Melody. first through fourth editions ( 1761, 1765. 1770. 1773), and in John Wesley's Sacred Harmo11y. first and second editions (1781. 1788). In John Arnold's The Comple1e Psalmodút. 7th edition (1779), the tune PALMI is retitled NoRTH

OcKENOON (setting the text. "O Lord. send out thy Light"). ITAUAN appeared in George Whitefield's The Divi11e Musical Miscella11y ( 1754) with the tune name MARYLAND (to a text beginning "My soul. thy great").

PusucK WoRSHIP. rhythmically altered from Georg Neumark (1657; Zahn 653 = Zn tune 2778). became SLOW GERMAN in John Wesley's A Col/ection oj Tunes. As rhey are commonly S1mg 111 the Fo1111der:J' (London: A. Pearson. 1742). Whitefield's The Divine Musical Miscel/any (1754) altered the tune to its J/2 contour and renamed it ARMLY. Butts followed suit in Harmonía-Sacra. c. 1760. now calling the tune PueucK WoRSHIP (see facsimile reprint in Richard Crawford's edition of Ura11ia. Da Capo reprint, 1974. p. ix). John Wesley's Sacred Melody. 1761. 1765. 1770, 1773, and Sacred Harmony. 1781, 1788. included Butts's version.

180

The tune SKY LARK by John Sheeles sets a text by John Addison first published in the Specrator of Saturday August 9, 1712, no. 453. Sheeles published his tune in The Sky Lark A Coflection of all the Divine Odes and Hymns Taken out oj the Spectators (London: Printed for the Author by wm Smith ... of whom may be had his I Sheeles's] Lessons for the Harpsichord. c. 1730).

The Eighteentlt·Century Hym,i Tu,ie S

SALISBURY debuted in Lyra Davidica. 1708. with the Easter text "Jesus Christ is risen today." John Wesley used it in Foundery, 1742. p. 11, with his brothcr's text "Christ the Lord is ris'n today." However, in all editions of Sacred Me/ody and Sacred Harmo11y he wedded the tune to Charles Wesley's Christmas text. "Glory be to God on high."

The tune RESURRECTION by the emigrant Saxon bassoonist. theorist. and composer John Frederick Lampe (1703-1 751) first appeared as Hymn VIII (but with a much more active bass, figured throughout) in Hym11s 011 tire Great Festivals. ar,d Or/rer Occasiot1s (London: M. Cooper, 1746).

6 INTER-AMERICAN MUSIC REVIEW

Tomb Stone h~ac Watts John Wor~an

:----..

'8=J=tE=t-;JEEi W " When 1 •ur - vey the won -

J /'!'

1-p Cros:,;

r 1FFF 64 on which lh<! l'rinc" of .Srous

~ ~ - ---~-W lJ Glu ry dy'd

r ~s, Gain I counl but

ffi Lo~. And pour Conlempt 011 ali my l'rid•,

*7r ~

Ff v r j 1r r r Ir r IP p r H For bid it, Lord, that shoulJ boasi. Save in th• Deaih of

~-1=.F)-f t±J ---1 J 11 r 1 p p r r 1 ( r •r F Chnsl my God: Al.l lhe vain Things that ple ase me

*7t u 1r r r Ir :i w Ir 116fr1r r r 1.0J UJ-t-D mo,1, 1 ,ac- n - fice th<!m 10 his lllood, 1 sac - ri · fice: tluim to has lllood.

MELoov• in lyra Davidica of 1708; two translations (1738, 1739) by John Wesley~ at pages 176-179 joined to the tunes named ITALIAN and PusucK WoRSHIP10 in Thomas Butts's Harmo11ia Sacra. or A Choice Col/ectio11 o.f Psalm a11d Hym11 T1111es, &e_ i,1 Two a11d Three Parts for the Voice. Hurpsichord, and Org1111 (London: c. 1760); and three Watts texts (as altered by John Wesley) set to tunes called

•EAsnR MELODY was callcd SALISBURY in the first Wcslcyan tune book. A Colfec11011 of 7,,,,,,, sf'/ to

Music. as the_v cm• Cum111011(v S1111g ut tlr,• Fo1111dt•rJ• (London: A. Pearson. 1742)_ p. 11. where it joins Charles Weslcy's "Hymn for Easter-Day" (John and Charles Wcsley. Hym11s a11d S,!cred Poems !London: William Strahan, 17391. pp. 209- 211). In S11cred M,•lody. 1761. Ura11iu. 1761. and S,•lect Hy11111s: with tunes a,mext: Desig11ed chiefly fo, th.- peopi<• ct1/led Metlwclists. 3d ed. (Bristol: William Pine, 1770, p. l l ). SAUSBURY is mated " 'ith Charles Wesley's "Glory be to God on high" first publishcd in the Wesleys' 1739 collection. See G. Osbom, ed., Tite Po,•ticu/ Works of Joh1r t111d Cluirle, We,iey. 1 (London: Wcsleyan-Merhodist Confcrence Office. 1868), pp. I 15- 116.

º"O God. my God. my all thou art" (l 738) from an unidentified Spanish paraphrase of Psalm 63 and "Lo. God is here" (1739) from Gerhard Tersteegen's Gei,1/i<·hes B/umewGilrtlei11 (1729). See G. Osborn. ed .. Tlw PnetiCIII Works. l. 167-168.

'º ITALIAN made its debut in The Divine Musical Misc,•/lw1y. 1754. a George Whitefield-sponsored tune

book. with the title MARYLAND.

PusucK WoRSHIP disco,·ers itsclf as a 3/ 2 variant of the cut-meter SLOW GERMAN tune in thc 1742 Foundcry collection. For original and varia ni printed togcther to admit of easy comparison. sce footnote 40 below. 5Low GER"IAN tune originated as Georg Neumark\ Wer 1111r de11 lfrbe11 Gol/ lass/ wu/1e11 ll-"ortgepflu111:er M11silwlisch·poe1iscM, Lustwald (Jena: 16571)- the tune used as the basis for Bach's Cantata 93. Bach used the same Neumark tune with other lyrics to end four other cantatas. See Wolfgang Schmieder. Thematisch-sysrematisches Verzeiclrnis (Leipzig: Breitkopf und Hartel. 1958), pp. I 23-124. 399, 446-447. 455 (items 93, 434. 642. 647. 690. 6<11, 691a).

The Eighteenth-Century Hymn Tune 7

PALMI's ,KETTELBYS. and HALLELUJAH11 at pages 172-175 and 196- 198. As was true for the four other just mentioned tunes, Lyon again found these last three in Butts's Harmonia Sacra. The Methodist provenience of "Eternal Power whose high abode," altered from The Conclusion of Watts's Horae lyricae. Part l ( 1705), "Praise ye the Lord, 'tis good to raise" from Psa/ms of David imitated (1719) [Psalm 147), and "Praise ye the Lord, ye immortal choir" from The Universal Hallelujah of Horae Jyricae. Part l, confirms Lyon's ecumenicism announced in his dedication of Uranio "To The Clergy of every Denomination in America. "

In broad sweep, eighteenth-century tune history can be organized under a further convenient nine headings:

Syllabic tunes with smooth rhythms are often differentiated from melismatic tunes with profiled rh}1hms in current hymnological literature-the one type being labeled psalm tunes, the other hymn tunes. However, eighteenth-century tune compilers made no such systematic distinction . From the Supp/eme11t to the New Versio11. 1708, to John Rippon's A Se/ecrion of Psa/m a11d Hym11 Tu11es. 1791, text-not musical character-determined classification. One and the same tune could serve indifferently for a metrical Davidic psalm ora " hymn of human composure." What did matte r was the meter that any given tune would fit . C.M., L.M. , S.M. were such overwhelming favorites throughout the first third of thc century that English tunes to other meters were roc's eggs in 1737. 11

11 The custom of giving each tune a name, which had bccn established as early as Thomas Ravenscroft's The Who/e Booke of Psalmes: wirh the Hymues Eva11ge/ica/l, A11d Songs Spirirva/1. Composed ínto 4. parrs by su11dry Aurhors. wirh suc/1 seuera/1 T1111es as /Jaue bee11e. and are vsually sung in E11gla11d. Scotland. Wa/es. Germa11y. Ita()'. Frunce. and Nether-lands (London: Stationers Company, ló21)'J continued

l'ALMi's . che tune for " Eternal Po"er "hose high abode," and KETTEL8YS. the tune for "Praise ye thc Lord. 'tis good to raise" (sce John Julian·s Dictimwry 11/ Hym110/11,:.1• artides listing John We,Jcy's altera · tinns) "ere firn publi,hed in 1he first edl!ion of H<1m1tmiu S11cru. Thereafter they reappeared in all Methodist eighteenth-century tune books. PALMi's bccame NORTH ÜC'KENDON in John Arnold's The Comf'lt'te Psufmmlist . 7th ed. ( 1779). HA LLELUJAH tune predated PAL Mi's and KFTTELBYS by a gencration, ap· pcaring first in Tlw S,•,·oml llrmk 11/ 1J,., Di1,i11e Com¡,.,11io11. c. 1725, a, William Markham's setting of P,alm 119. As 1he mu,k for Watts\ altered paraphra\e of l'salm 148 it dcbuted in Tht' Di,·i11<' M1mcul M1s,·rllu11y. t 754.

"John Wesley in his 73-pagc anonymouSI) publhhed Charle,10" n Col/,•c1io11 11/ Psufms uml Hym11s

(Charleston. South Carolina: Le"is Timothy. 1737) initiatcd 1he custom rampan! 1hroughout the rest of thc ccntury o f rccasting pocms by George Herbert ( IS93- lbJ3), John Austin ( lb l 3-lbó9), ls.aac Wath. and other, 10 make them fu C.M .. L.M .. and S. M. tune, already widely popular for thc ,inging of metrical psalm,. On the epochal significance of thc 1737 Collt'<'tio11. ,ce Roben Stevenson. "John Wc,ley's Fint H}mnbook." The R.,,,,.,., of Reh,:im,. XIV 2 (January. 1950). pp. 140-lbO. reprinted in George W .

W1lliams and Frank Baker. 10h11 1-\,esf,·y·s ¡.¡·rst Hymn·Bm,k A Cuflrctw11 o/ Psu{ms cmJ Hym11s

(Charlcston: Dalcho Hmoricat Society ll'ublication No. lb l. 1%4). 'Thoma, E\t cntuled che tune, for Psalm, 88. 92. and 146 in his The Wliolf' B,mlcf' of Psufmes (1592)

GLASSENBURI[ TUNE. KHITISH TUNE. and CHHHIRE TUNf. Ra,en\croft's 22 English tunes, 7 "Sconish." b "Nonhcrne." and 5 " Welch" tunes-all ghen place-na mes in his 1621 W/wf<' Book.,•-arc in· dcxed at his folio AS (and are alphabctically listed in Sir John Ha" kins. A G1'11erul HiJ111ry o/ tire Scieuce u11J l'rt1c/"''' ,,, M11si,· Lu11do11 1776, ed. by Othmar We\\ely IGraz: Akademische Druck· u. Verlag\anstalt. 1%91, 11. 558b). For an easily accessible transcription and ,aluable analysis of cach named tune. "!e W1ll1am Paul Stroud, "The Ravemcroft Psalter (1621): The Tune,. "ith a background on Thomas Ra,cmcrofl and P,atm Singing in his Time." Uni~ersity of Southern California Doctor of Musical Art\ dis<,erta11on. 1959, pp. 142-215.

8 INTER·AM ERICAN MUSIC REVIEW

prevailing throughout the eighteenth century. However. just as John Playford captiously renamed many of Ravenscroft's tunes. so also eighteenth-century compilers continued capriciously renaming tunes to such an extent that the genealogy of any given tune has to be confirmed not by tracing names but by counting musical intervals.

111 Even when only single-line melodies were printed. as for instance in John Wesley's A Col/ectio11 of Tunes ... Commonly Sung at the Foundery (the so-called Foundery Collection, of 1742), and Sacred Melody of 1761, harmony is implicit (witncss later republication of thc same tunes harmonized in Sacred H,irmony). In harmonizations for more than two parts, the congregational or "church" tune" and bass (or continuo) usually occupied the two bottom staves.

IV Not only did tune-namc changes continue rife throughout the century. but also those tunes that enjoyed steady favor underwent extensive face-lifti .. ;;;.

To cite an example: HANOVER. labelled "A New Tune to thc 149th Psalm of the New Versio11. and the 104th of the Ole/" when first publishcd in thc S11ppleme111 of 1708. page JI. was called ST. GEoR[GIE's in Michael Broome's Collec1io11 of Church Music for tire Use of his Scholars (lslcworth. c. 1725). cntitlcd HANOVER for the first time in Nathaniel Gawthorn's Harmo11ia Perfecta: A Compleat Collectio11 o/ Psa/m Tunes i11 Four Parts (London: William Pcarson. 1730). page 220. namcd BRoMSWJCK Tu NE in John Wesley's Foundery Collection of 1742. page 6, PsALM 149 in James Lyon's Urcmiu (1761). pages 86-87. and TALu's in Wesley·s Sacrecl Harmo11y ( 1788). lt again turns up in John Rippon's A Selec1io11 o.f Psalm cmd Hy11111 T1111es. fmm tire hest aurhors. i11 three a11d four parts: ad(lptecl pri11cipully ro Dr. Wmts s Hym11s cmd Psulms e111d 10 Mr. Rippon ·s se/ection of lrym11s (London: 1791) as A1uE STREET-but in a form so "modernized" as to require quotation here.

A Ncw Twu' (Suµµlemt'tl/. 1708, pp. 3 l-32)

ble,,. us wllh Mcr • cy and Lovl!. Tht che • ri • shing

l·a • vour b,, - ,tow, That I arlh hís JUSI lkal-in~s my *'" and ap ·

@44-J l.BS21r I r Pr I e e r I r 19 v 1

111> hcal • 111~ Sdl - va - 11011, ali l'l!o - ple may know.

"In T/1(• Sc•crmd Boul«' of William Damon's p~ahcr (1591). he initiated thc no\\adays universal custom oí a~signing the lcad mclody to thc top voicc ("thc highe~l part ,ingeth thc Church Tune"). In Damon\ T/11• f'rmn,·r Booke of tite M11sicke. which is Book I of his 1591 psalter, "the Tenor ,ingeth thc Church Tune." Scc Mauril'C Frost. Hiswrical Cm11¡,1t11io11, pp. 54-55 (originali)'. '"churd1 tune'" mcant a four-linc tune).


AILII STR[I T 1Sl'iect,un, Sth ed., no.241)

.k ü~

~~· º r I r{f s J Jd ..

1

1 ,J V

.. ,J 1&J r 167D r it:r

IC{' p fL.

1

V The total extent of the eighteenth-century new tune repertory cannot be even approximately inferred from the number in present-day hymnals. Hundreds were composed for every current survival. DARWELL's 148TH, the only one among John Darwell'.s 150 original psalm tunes still in use, suggests the proportion of present survivals-one among 150 or more. The British Union-Catalogue of Early Music printed before the year 1801. l, 520-525, itemizes 279 collections published between 1700 and 1800 under the rubric of "Hymns, English"; and in 11, 829-838, 463 of "Psalms, English." Allowing for duplicates, new tunes published in the century easily exceeded 4,000. Added to any rough estímate of the grand total of eighteenth-century tunes must be the still harder to tabulatc number of unpublished tunes. In a valuable dissertation on ''The History of Baptist Hymnody in England from 1612 to 1800" (University of Southern California Doctor of Musical Arts. 1959), Robert H. Young devoted Chapter VII (pp. 141-154) to a repertory of 255 unpublished tunes, all but two original. that were composed bctween 1750 and 1800 by members of a Baptist church singing society living in Rosendale Valley north of Manchester. Then known as the " Deign Layrocks" or "Larks of Dean," the group formally organized at Lumb as a Baptist Chupe] in the Spring of 1753, with John Nuttall as pastor. Seven years Jater the church moved to nearby Goodshaw village. Annie Buckley's History of the Providence Buptist Chapel. Lumb (Rawtenstall": 1928) 01ade un informal assessment of the Deign Layrocks tune repertory as a whole. and identified severa] of the composers.

The Sunday School registers testify to the regularity with which these Lancashire farmers tramped over the moors to Bacup or Goodshaw in all weathers. Gradually the Layrocks developcd into a strong local society oí musical composers. of whom John Nuttall's two sons Jame~ (1745-1806) and Henry (1747- 18 10) both excelled in composing hymn tunes. James's tunes bore such na mes a~ "Bocking Warp." "Friendship." "Lark." "Sampson." "Spanking Rodger." and "Temple.·• Reuben Hudson (1745-1806) contributed "Living Green," "Nazarene," "Phlymphlam" and "Stanton" to the repertory. Like many late eightecnthcentury composers elsewhere throughout England. they revelled in Handel's oratorios.•• and so far as their resources allowed tricd imitating his ~tyle. Their tunes invariably go with a swing. teem "ith runs and repetitions. and often finish "ith a fe" bars of rousing chorus. Oauntless cnthusia\m and robust joyousness were the keynotes of their religion. and their tunes correspondingly burst "ith strength and vitality."

"The Dc1gn Layrock\ manuscripl containin¡¡ the 255 tunes compiled in 1904 by Mo\es Heap belonged in 1959 to the Rawlenstall Publíc Library.

"l\t leasc 1wo of 1hc La)r<>eks tuno are direct arrangemcnts frnm Handcl: Hcnr) Nuttall's 1 HE OfAD

MARCH (L.M .. from Semi) to be used with P;alm 89, and GALATEA (L.M .. adap1ed from Ac,s t11ul Gulu,,.u). Sec Young, pp. 149- 150 for íacsimilcs of the~e adaptations.

0 'Young. pp. 143- 145. quoting Annie Buckley. pp. JJ. 15-ló.


lf this kind of prolific hymn tune composing can be documented among Baptists in one rural eighteenth-century community. similar activity in numerous other villages and among other dissenting bodies may well bring the total of published and unpublished eighteenth-century tunes to the "ten thousand ransomed saints" rnark.

VI After 1750. tunes sung by dissenters obviously tended more and more toward the florid. Even country singers imitated the graces in Italian opera. Beginning about 1760 they also began fancying so-called fuging tunes, the first half hornophonic, the second half pursuing an imitative point through four voices. u In keeping more with their aspirations than their abilities, rural composers (such as those among the just mentioned Deign Layrocks) turned the late eighteenth-century hymn tune into a sort of "poor-man's Handel. •· Not that melismatic hymn tunes decked with opera tic graces and imitative points were unknown in the early J 700's: witness Henry Playford's The Divine Co111pa11ion which between 1701 and 1722 ran through four editions." In ali editions the syllabic, emotionally neutral "new Psalm tunes" for tenor (or soprano) and bass by John Church that begin the volume differed stylistically from the melismatic. emotion-fraught hymn tunes by Samuel Akeroyd, Jcremiah Clarke. Robcrt King. and William Turner that make up the bulk of The Divine Companio11. Popular psalm tunes that were holdovers from the previous centuries could be sung indifferently with almost any objective text in the stipulated metcrs-S.M. texts requiring the maid of ali work SouTHWELL and C.M. such ali purpose tunes as CANTERBURY. LICHFIELD = ST. MARY's, MARTYRS. ÜXFORD, ST. DAvm·s. WINCHESTER. WINDSOR. and YORK (to sample those in Ravenscroffs psalter). 'º But subjective hymn texts required a different breed of music. In Akeroyd's "An Hymn for Good Friday" at pages 44-45 of thc 1715 Divine Comp1111ion (page 36 of the 1701 edition), this prolific court cornposer set the passionate poem of six-line strophes from Nahum Tate's Miscellanea Sacra (1696). I. 18-20. beginning "Dear Saviour. oh! what ails this hean?" as a highly expressive and deeply felt personal lament. John Wesley approved so emphatically of Akeroyd's tune that he named it CRUCIFIXION and used it for his brother's 1738 hymn on Free Grace. "And can it be that I should gain" published as item JI in the first Methodist tune book-the so-called Foundery Collection of 1742.

John Wesley similarly endorsed two of Jeremiah Clarke's hymn tunes in The Divine Companio11-as is shown by their reappearance in the 1742 Foundery Collection. in the 1761 Sacred Me/ody and in the 1781 Sacred Harmony. "An Evening Hymn Set by Mr. Jer. Clarke" was published in The Divine Compa11io11. 1701 edition. page 27. and

" Although not indcxcd in any oí thc ~tandard European lcxicons. "fug(uling tune" denote~ a tune typc pionccrcd by Joscph Stephcnson in Church Harmo11y sacretl to de,'Otion. Being" chmce sPt o/ new an1he111s

& psalm ,,,,,.,s . .. lul\·i,1¡: 1/u~ e11ergy o/ our English words parr,culllrly t•x¡,ress 'd . with un air suited to e<1<·h clilJ•'"'"' suh_,..ct (London: (J. Ri,•ington & J. Flctchcr. Jrd cdition. 1760)). Scc lr\'ing Lo"'cns. "Thc Origins of the American Fuging Tune," Journal o/ th,, America11 M11sicu/11gicul St1ciery. VI 1 (Spring. 1953). pp. SO-SI. and Robert Stcvenson, Pro1es1w1t Clrnrch M11sic i11 America (New York: W. W. Norton & Co .. l 9ób). pp. 59-60. 6b-70.

"Thc Huniington Library copy is oí the thírd edítion. Tl1<' D,,,;,,,, Com¡w11io11. "'· Dm•i,/'s Harp N,,.,. T1111 'cf IJei11g A Clwice Co//C'cti,m o/ N,•w ami Eusy Psulm,. Hym11s and Anthems. T/11• Words n/ tlw Ps<Jlms

h,·i1111 Col/ected /rom the Newest Versio11. Com¡ws 'el by 1/u• bes, Masters. anJ jim,cf m ,1,,. u,,. o/ tl,ose.

'lt·hu a/ri,mly 1mclus1e111cl Mr. Jo/111 Pluyjorcl's l'salms i11 Thrí'<' Parts. To be IIS<'d III C/111rc/1<·s or Priwue

Famili1•s Jor their 11"''""' Acll'l111éem<'11t o/ Di,·im· Music (London: Wíllíam Pea.son. 1715). ' º According to Young. p. 94. thcse níne psalm tune~ rank among the filteen mo,t frequcntly publi,hcd

beforc 1700. thc othcr síx bcing CAMBRIDGE ÜLD. l'sA1 MS 100. 113. 119, 148 (all in Henry Ainsworth', 16 12 psaltcr). and LoNDON (Wíllíam Barton's p,alter. IMS).

1

i i \ ·)

The Eightee11 Hynrn Tune th·Century 11

' o IN

.S: ;§

' ~ . .....

12 INTER- AMERICAN MUSIC REVIEW

The Eighteenth-Century Hym11 Tu11e 13

1715 edition, page 34. as music for thc six-strophe L.M. tcxt from Thomas Flatman's Poems cmd S011gs. 1674, pages 48-49, beginning "Sleep, downy sleep. come close my eyes. " 11 With a different text. this same dclicious sixteen-bar A minor lullaby cadencing at every fourth measure, is found anew at pagc 28 in Foundery. here christened CLARK's TuNE. 11 Hymn VI in the 1715 Divine Compa11io11 (1701, p. JI; 1715, p. 38) wedded to a text "How uneasic are we here." returns in Foundery as LONDON NEw. now joined to a text, "Saviour. if thy precious love" adapted in 1739 from George Herbert's The Temple. 1633, page 107 ("Swcetest Saviour oí my soul:'). 23

VII Most intriguingly. both these same Jeremiah Clarke tunes levied by the Wesleys were already circulating in the American colonies only a year or so after the Wesley brothers left Georgia. In a hitherto neglected manuscript datt:d 1740 (and catalogued Cast MS-VM 2116 S88r 1740) at the Newberry Library in Chicago. Clarke's setting of Flatman's "Sleep. downy sleep" is copicd at folio 20. At folio 22 headed "An Hymn on the Vanity of the World, " comes thc tune renamed LoNDON NEw in Foundery. The same Ncwberry manuscript-which bears on the last leaf the legend "Deacon Story's Singing Book of Durham. Conn. 1740" (folio 42v)-contains through folio 16 a standard selection of 29 psalm tunes including such famous favorites as Thomas Campion's STREAMS OF BABYLON (lólJ) and Orlando Gibbons's ANGELS SoNG ( 1 ó2J). At least four of the eighteenth-century tunes in this earliest of American hym· nals,. deri,e from Simon Browne's A Sen of Tunes (c. 1720)-BRUNSWKK. ISLE oF W1GHT. MFAR. and PORTSMOUTH. PSALM 136 at folio ló, which is found also in

"Text reprinted in George Saintsbul'}, ed .. Mmor POt'IS <1/ 1h.- C.m,/111e Perind. 111 (0Aford: ('larendon Press. 1921). p. 318.

"The Foundery teAt-John We\lcy·, translation from the German bcginning "Je~u. to Thee my heart [ bow"-is headed "SubJCCtion to Christ" in John and Charle, Weslcy\ Hym11s cmd S<1C'recl l'ot'111s. 173Q. See G. O,born. ed .. 7'/,c• P,,.,ti<·ul Works (1868). l. IOQ. In the 1-<,1 S<1<r<>d /t,1,.,/ody and 1781 Sacr.-d Hamw11y. thc same C'1 4RK's Tu,u of 1742 returns "ith thc t1tle BR4DFORD. "º" setting John Wesley's translation of Paul Gerhardt's "Jesu. thy boundlcss love to me."

' Of thc six te,ts re,•i,ed from Herbert that John Wcsley included tn his 1737 Charlcsto\\n collection"O Thro" ª"ªY th} rod" r'Thro" ª"ªY thy rod"), "O Kmg of glol)·" ("King of glory. Kmg of peacc"). "Thou Lord m) po"er and wisdom an" ("Do not beguilc my heart"), "Lord. ho" in silcnce I dcspis.e." "With bendcd knee and aching e}t'\

00 ("With fük and fami,hcd eycs"), and "How s"iftl) "ahed ,, a sigh" ("Oh ..-hat an eas,e quick acce\\00 )-onl) thc íirst found a tune m Founder), Borro"ed from John Che· tham's A 800/c <Jj l'su/111,,.Jy. 1 ~18 ( 11th ediuon. 1787). "herc it joíned Psalm L. the A minor tune in Foundel). p. J-called FlTifR LANE-appears in James Lyon's Uru11ia. p. 25. renamcd W1RKSWORTH. and returns a ,tep Jo,.er in Sacr,•d Harm"".I'· 1788. p. b. no" cntitled BRENTFORD ("Thou ,cry paschal Lamb") ~1111 "idel} popular a gcncration Jatcr. the tune rcappcarcd "11h the namc An nouRv ,n Anan,as Da,i,,on·, frequentl) rcprmted Kc•11111clcy Hur1111111y l(uxington. K) , 18 1<>: Harrisonburg. Va .• 1817]). FounderJ. pp. 14- IS. pro,1ded one other tune. for a Herbert adaptauon. the text of "h1ch ª" aucd the 17JQ Hy11111s 1111tl S<1cred P,wms for publication. "M) stock lies dead and no increase." Thc A nunor tune for this, printcd in Foundcry with the title ST. JOHN°S, was again a borrowing from John Chetham. l 718, that ,.as to cnjoy long lifc undcr such alternate namcs as BuRFORD (Gawthorn, Harmonía Perfecru. 17)0, and Butts. Harmonía Suua. c. 17<>0. Wcslcy. Sucrrd Mrlody. 1761. aod Saered Hurmony. 1781), and Ux· BRIDGE in M . Broome. A Choiu Collec11on o/ Twent.v·Four Psulm Tut1es. c. 1744. and John Arnold. Church Music reformrd. 1765.

" Nathaniel Cha unce} ( 1<>81 -17Sb). rated in Franklin B. Dexter\ Biogruph1c<1/ Sh,eht's oj rhe Grud11u11,s o/ Yule Co/1,,¡¡r .. -uh A1111uls of 1h1• Collegl' Hmory. 1 (Nev. York. Henry Holt. 1885). pp. 9-1 J. a\ Yale's fir\t graduate. 1702. pastored the Durham. Connecticut. church from 1706 untll dcath. An ar· dcnt friend of music, he publishcd at Ne" London in 1728 a 54-pagc apolog,a. R1•1(11/ur S111gi11R Dt'}t'11de,I. u11d Pmvi•d 10 be tht' 011(1· True Wuy oj Si111111111 th<' S011gs oj 1/1e l ord. b.,· ArJi111111r11ts hot/r /mm Reusm1 a11d Scr,prnre

-


Lyon's Uremia of 1761. illustrates a radically new type of psalm tune. the kind that exploits antiphonal solos betwecn tenor and bass and ends with a tremulous semiquaver duet against held notes. The hymn tunes, spccifically so callcd in the Newberry 1740 manuscript. include not only the two by Clarke repeated in Foundery and shown here as accompanying examples but also a saraband-rhythm duet between tenor and bass cntitlcd "An Hymn on ye Divine Use of Musick"H (folios 2Jv-24, the text from Nathaniel lngelo's Bentivolio und Uremia. 1660. page 250). "A Morning Hymn" (folio 20. text beginning "Awake my soul, awake mine Eyes" from Thomas Flatman's Poems mu/ S011gs. 1674. pages 47-48). and "Thc Cradle Hymn" (folio 21).

Thcsc previously unnoticed hymns in the 1740 Derby. Connecticut, manuscript now at the Ncwberry Library. revolutionizc hitherto rcccivcd dicta on carly American music history. In particular. Clarke's hymns carried over from The Divine Com· ponían into this ignored source completely reverse the traditional opinion that the New England colonists suffocated themselves in nothing but antiquated metrical psalm tunes until 1770. 2• But to return to the printed source whence they were drawn, The Divine Compcmion itself: the seminal force of the hymn tunes in this 1701. 1707

1 Th.: Dfruie Cumpu11ion. J 701, p. 2 71

.Dea~on Story', Smging Uook of Durham, Conn. 1740, fol.20

IA Collecrw11 oJ Tunes set to M11sic as 1liey are commonly sung al tite Foundery, l 742, p. 2R (" fosu to thce, rny llean 1 bow")I

tSacred Harmony: ora Choice Cul/ectio11 o{ Psalms ond Hy,n,rs. Set ro Muiic in rwo atzd three pam, Jor r!u: Vu1ce, florp>iclwrd 11nd O,ga11. 1781. p. 81 (''J(su, thy boundless loye")I

(Tlie Boi/012 /Jondd a1JJ 1/oydn SocÍl'ry Col/,,c1io11 o[Cliurch Music, 1822, p. 82)

f¡ -

1 1

Sleep, cumé dos<' mine Eyes: Tir'd w11h be-hold-ing

1 1 1

- - .....

l·- . .., '

Van-i • UéS. Wokom• sweot Sléép that dri-v'st

fr.,. ---

1 1 1 '

away, The ToUs and Fol-Jies of the Day.

1 1

"Expandcd version anonymously set 11 J in John Playford's The Whole Boolc of Psa/ms (London: W. Godbid. 1677). p. 29.3. Anothcr sctting a J by Henry Purcell in Harmo11ia Sacra: <>r divine l1ym1u 011d dialogues (london: Edward Jones for Henry P!ayford. 1688). p. 45. Tcxt of cxpanded version (without mu sic) in ali known Boston cditions of John Tufts', A11 lntroducrio11 10 rhe Si11¡¡i11g of Psulm· Tunes ( 10th. 17.38: 11th. l 744) immediatcly beforc list of tunes. John Jcnkins·~ setting u J mentioned in John Playford's Psa/11u & Hym11s i11 Solem11 Musirk of 1671 is apparently lost: see Maurice Frost. HiSloricul Comp<111io11. p. 61.

"William Billings's The Nell'·E11¡/la11d Psa/m·Singer (Boston: Edcs and Gill, 1770) went beyond "the chafing rcstrictions of simplicity in psalm tunes" (J. T. Howard. Our Americu,1 Music. 3rd ed. INew York: Thos. Y Crowell . 19461, p. 49).

l T/1<· Vwme Compun,011, 1701, p. 311

l.>,!dú>n Srury\ S111gin¡; llook, lol. 2~

(,.1 Cullec11011, 174 2 j

¡SaC'lt'd J/am11my, 1 7811

e: How un ~a - ~R

,.,si

The Eighteenth·Century Hymn Tune 15

"'" w" here Full of sin anol fu U of fear,

ToJJ in th.,e, d"ar Lord, we're bl<e~t.

= 1709. 1715, 1722 collection can be further illustrated. Hymn VII in the 1715 edition. page 40 (1701 ed .. p. JJ). "Merey I will and judgmcnt Sing" with both text and tune by Robert King.,. turns up again in both John Wesley's Sacred Me/ody: or A Choice Collectio11 of Psa/m 011d Hymn Tunes of 1761 and Sacred Harmo11y of 1781. Now newly titled NoRWICH, this King tune joins Charle!> Wesley's hymn text "O God of our forefathers hear" (1745) in both 1761 and 1781 tune books. As published in 1701 thro'ugh 1715 editions. the King tune breaks into an imitative section at measures 9-IJ (with obligatory repeat of these five bars). But in John Wesley's tune books. the imitation between bass and soprano vanishes. vocal ornamcntation is added. and the repeated bars are rcplaced with a writtcn-out variant.'" Because thesc severa! changes were not only sanctioned but actually required by thc Methodist founder. the King tune-shown here in both the 1701 and 1761 ::::: 1781 = t 788 versions-can serve as a convcnient test case.

As proof that John Wesley himsclf controlled the sclection and musical arrangement of the tune!> in Sacrecl Melody. his rather peremptory prcface to Se/ect Hym11s should be once again read over:

1 have been endeavoring for more than 20 years to procure such a book as this. But in vain: Master~ of music "'ere above following any direction but their own. And I was determined, "'hoever compiled thi~: should follow my direction: Not me11di11g our tune~. but setting them

' Edna O. Parks. Eur~1· E11Rhsh Hymm A11 fodex (Meruchcn. N.J.: Scarecro" Pres~. 1972). p. 7S, \ignals the 1701 edition (p. JJJ for their fim appearancc. Like Clarke. King rated a, one of the foremo,1 royal mu,il'iam ar thc turn oí the century. ~ce Michacl Tilmouth. "King. Robcrt." Vw M11sik 111

G,•schil'IIII' 1111d GeR"""'11r1. VJI (l9S8J. cols. 920-923. >•for a mid-eigh1een1h,centul') collection de\tgncd for rural use in "h1ch imi1at1>C point~ run riot. see

John Arnold. 7111' L1'1,·1·ll.-rs/11r,• Hur111011y. Co11111111111,r u s.,, o/ Exc<'lle,11 Psulm·T1111,•s . .. The W/wle mm¡mud, 111 Mr,d.-r11 Tt1s11•. /or Fo11r Voices. /Jy <111 Emi11••111 Masrer 11/ rl,e Co11111y o/ Leicesrer. A11d """' /irsr ¡mhlished For rhe Use o/ Cmul/1')' Ch11rl'l1es (London: Rohert Brown. 1759). John Wesley " 'OUld havc none of 1hi\ \inging "in repom." bandying bet,.een pan~. or imitatÍ\c singing. Ht\ han on "fugmg" tnfluenced Me1hodis1 U\age on both side~ oí the Arlantic. For documentation. ,ec Robert Stevcnson. Pr,111•s1w11 Cl111rc/1 !,,f11sfr 111 Am,•rirn. pp. (>9 70.

16 INTER-AMERICAN MUSIC REVIEW

n,., Dm,i,• (,nnpa11irm, J 715 cd., p. 40 [llymn VJIJ [8.8.!UUl.8. (• ab ce htj

An 11 ymn Set by M r. Roben K ml, 1 or 1 wo Vm:.

r r Judgm•nt ,mg. lo th•e, O LorJ from whom they spun¡¡ .

. ----+----= -=:.!:= • -

my way~ c.:or-rcci. When wil1 thou com~ and d !U wuh mt:·!

r r=tr wr F My

1 r w, BBJ 1w. J,.JJ My whi,>lc al - l•1rs anJ •am-i - ly w,11 wuh per- fect ht:art l11 · rcc1.

whok wdl

NORWICH

Sacred Harmony (178 l ), p. 92

O God of our fore-fa - thers hear, And make thy faith-ful mer-cit:s known,

Tothe.:throughfosus 1 draw nearThy suf- f'rm11 wcn beluv - ed Son, In whom thy,

In whom thy smwng foc.: 1 see, In whom thou in whom thou artwell pleas'<l with me.


down, neither better nor worse than they were. At length I have prevailed. The following collection contains all the tunes which are in common use among us. They are pricked true. exactly as I desire all our congregations may sing them: ... JoHN WESLEv••

His personal imprimatur given the 102 tunes in the first edition of Sacred Melody ( 1761) and continued through the 114 in the second edition of Sacred Harmony ( 1788) means that he not only tolerated but approved of such a wildly florid melody for his brother's "The voice of my Beloved" from Scripture Hymns (1761) as CHESHUNT. 3º Published in Sacred Harmony (1788), pages 116-122. CHESHUNT is an adaptation a J of Henry Holcombe's popular air "A Thought on a Spring Moming." Charles Wesley may even have written his versification of Song of Songs 2:8 with Holcombe's air in mind. The tune, festooned with two tempo and meter changes, flowers into a melisma lasting six bars (on the word "come"). John Wesley himself also endorsed Martín Madan's extremely elaborate ÜENMARK a J (Sacred Harmo11y. 1788, pp. 12J-130). This thr~ughcomposed setting for his own revision of Watts's Psalm 100 beginning "Before Jehovah's awful throne" (a revision made in Georgia and published in the 1737 Charlestown collection) illustrates the trend toward the florid. difficult. and lengthy in the new tunes circulating from 1760 onward.

Whether early or late in the century, tunes that gained widespread popularity in England quickly became current in America. Attention has already been paid sorne nine English hit tunes publishcd 1701-1760 that were reprinted in James Lyon 's epochal Uranio (1761). These nine already mentioned tunes are thus entitled in the Philadelphia imprint: ITALIAN. KETTELBYS, PALM1's, PsALM 136_, PuBLICK WoRSHIP. PsALM 149 (= HANOVER, 1708, by Croft). REsURRECTJON (1746, by Lampe), ST. ANN°S (1708. Croft), and SALISBURY (1708, from Lyra Davidica). But these nine are merely the beginning. Uru11ia also included another 22 such eighteenth-century hit tunes. To list alphabetically the confirmed English borrowings:11 BATH (c. 1760). BEDFORD by Wheale (c. 1721), BauNsw1cK (c. 1720), CaowLE (1724). DoRCHESTER by William Knapp (1738), HALLELUJAH by William Markham" (1725), lsLE oF W1GHT (c. 1720). KETTERING by John Sheeles (c. 17JO), MEAR (c. 1720), NEWCASTLE. PoRTSMOUTH (c. 1720), PsALM 4, PsALM 90 (1759), PsALM 98 ( 1734), PsAt.M 102 (1758), PSALM 113 NEw by Israel Holdroyd (1753), PsALM 119 NEw (1758). PsALM 145 (1759), R1PON by John Barrow (1756), RYGATE by James Evison (1751), ST. MATTHEw's by Croft (1708), ST. MtCHAEL's (c. 1724), SKY LARK by Sheeles (c. 1730). STANOISH (1700), WALSALL (c. 1721 ). WFLLS by Holdroyd (c. 1724), and WIRKSWORTH (1718). Among these 22, the following wcre still in cur· rent American use sixty years later when Lowell Mason compiled his Bosto11 Hunde/ a11d Hayd11 Society Collectio11 of Church Music (1822): 8ATH, BEDFORD. CROWLE. MEAR. ST. MATTHEw's. ST. M1cHAEL 0 S (called RocHESTER), and W1RKSWORTH (called AYLESBURY). Lowell Mason's 1822 collection also included at least another eight of the 18 eighteenth-century English hymn tunes most frequently printed in a

"Se/ect Hymns · wirh 11111es u111wx1 Desig111'd <:lríefly for the use of rhl' Peopll' cal/ed Merlwdms (Bmtol: William Pine. 1770). p. iv. Richard Green, The Works of Joh11 und Charles Wl'sll'y. A B,blíog· rophy (London: C. H. Kelly, 1896), p . 118.

·•Sucred Hurmo11y. 1788 ed .. pp. 116-122. ' Richard (rawford, preface to Jame~ Lyon's Uru11fo (New York: Da Capo Press, 1974). pp. xx1A-xu,. •Printed u a \Clling for Psalm 119 in Tlw S,•m11d Boolc of tht' D1ei11e Compú111011 (London: William

Pearson. c. 172S); see Maurrce Fro\t. "Harmonía-Sacra. by Thomas Bu11s." The Hym11 Sociery ti/ Greur Bmu111 u,id lrt'lmrd. Bullc11n ól [111 4) (Autumn. 1952). p. f>9.


reprcsentativc ten landmark London tune collections spanning the century ( 1708. 1730, c. 1730, c. 1750, c. 1751 , c. 1760, c. 1760. 1772, 1777, and c. 1791):H BED·

FORO. 8F.THESDA, BuRFORD, GREEN°S 100, ISLINGTON. ST. MAITHEw's, WALSAL

(WALSALL), and WANTAGE " (B0sto11 Ha11de/ a11d Haydn Society Col/ec1io11 of CJ,urch Music [18221, pp. 125. 165, 127, 75, 32, 88, 135, 130).

VIII Thcsc and at least another dozen eighteenth-century hit tunes crossed ali denominational lines. turning up equally in disscnting tune collections wcdded to hymn and psalm tcxts. in old-line establishment collections to psalm texts. or in Methodist collections to hymn tcxts. However. the emerging religious society that most actively sponsored new tunes from 1742 (the year of John Wesley's Foundery collection) to 1788 (the year that the second. cnlarged edition of Sacred Harmony appeared and the year that Charles Wesley died) was the Methodist. In part, the Methodists were forced to scek out new tunes becausc Methodist poets-especially the gigantic Charles Wesley-broke. the trammels of the thrce traditional psalm metcrs . C.M .. L.M., and S.M .. instead favoring meters for which no suitable precxisting psalm tunes were available. H Witness "Jesu, Jover of my soul" and "Hark. the hcrald angels sing" ( = "Hark, how ali thc welkin rings",.}, both cast in eight-line stanzas of 7's, "Love divine ali [oves excelling" in eight-line stanzas of alternate 8.7., or the many other Charles Weslcy hymn texts in six-line 8's, 7's, 6.6.6.6.8.8., 8.8.6.8.8.6 .. and enough othcr combinations to merit an entirc chapter on his metrical versatility in Frank Bakcr's introduction to Charles Wes/ey 's Verse (London: Epworth Press. 1964). pages 68-76. Also among thc imponant predisposing reasons for the number of new tunes in Methodist collections werc John Wesley's insistence on hearty. intelligent congregational singing by ali at ali Methodist meetings. ' ' and his

"A S11ppl.-1111•111 to th,• /\J,,,... V,•rsirm ... Tl,rSixth Editio11. Nathaniel Ga"thorn. Hur111011i<1 P,•,{,•cw A Co111p/rat C11/lecrio11 o/ Prnlm T1111es i11 Fo11r Puns (William Pearson); Francis Timbrell. T/,e o,,,¡,,... M11sicl, Scho/ars G11ul,• or tire Ti111br,•/ 11ew 11111 'd. i11 thrt•e books (William C'lucr Diccy); A Co/l!'ctfrm o/ Tu,u•s i,1 Thrt"e PdrtJ. tlu.11 c,re now IIS 'd i,1 tht., sever"I Dis.n•111i,1R Co11gn'ga1io11s m Lo11do11 /ir to buul IIJJ w1th Or. W1111s ·s Psu/111s (Thomas Knibb); Abraham Milncr, The Psalm Si11¡!<'rs Com¡,u1111m. b!'lllf/ u col· lt'ctio11 o/ psalm 11111t•s. ca1w11s r111d a111Jt,,1ns. i11 two. thn1c'. 1111d .four parts (William Smith): ('aleb Ash,n1rth. A Coll,•ctw¡¡ o/ Tt1111•s ... set itt /<HIT parts U. Buckland); Ham11111w Sucru. or A choice Col!t·<·tion ol Psal1t1 ,,,,J Hym" T111u•s. &c. ;,r Two "'"' ThN•e Parts For tire Vufrt'. Har¡,sichord. aud Orgm, (Thomas Butt,); A Short .. . l,r,r,u/uciio" to Psa/111ody wit/1 11 Coll!'<'llím o/ P/11i11 P.rnlm· Tuttes . , , 0PSiR""" /or rl,e 11se o/ u Socfrty oj Pm1<•s1a111 D1sse11rers: A11 Abrid!lme111 o} 1/,.. /Vew VPrsio11 ri/ Psulms /or 11,,, use o/ Clwrlo11, .. Str<·'<'I t111cl Bed/ord Ci,upe/s· With proJJ<'r 1111/('S ,ulu¡,ted to eucl, ¡,sulm (Thoma, Johnson); lohn Rippon. A Selrctim1 o/ Psu/m ami Hym11 Tw1t'S. /mm the Besr Autlwrs. in tl,r,•,• und /our purts. rufopted pri11ci¡wl/y l<J Dr. W1111s ·s Hym11s mu/ Psalms w1d to Mr. Ri¡,¡,rm ·s Sei,•ction oj Hymus.

" For a convenicnt table listing thc "P~ahn and Hymn Tune, mo,t frequcntly found \n leading English

tune booh of the Eightccnth Ccntury." sec Young. pp. 102- 104. " Concerning his more un usual meter,, sec Frank Bakcr. Repr,•sematil't' v,.,,., o/ Charl,•s W<'sley

(London: Epworth Press. 1962). pp. ,liv-xlvii. He bcgan cxpcrimcnting with anapacsts in 1741. "E\'en more importan! for thc ~tudcnl of prosody i~ Charle, Wc,lcy', fertile expcrimcntation with mixed mcters. particularly mixcd iambic and trochaic."

" "Hark! how ali thc welkin rings / Glory to thc King of Kings." the opcning hnc, in Hy111us a11d Sacred Poems (London: William Strahan, 1739), pp. 206- 208. bccame "Hark! the herald-angcls sing Glory to thc ncw-born King" in Gcorge Whítcfield's Uym11s /or Sucia/ Worslrip. rnlll'ct<'d /mm ,•urrom u111/wrs. ul/CI """" ¡,urtic11/ur~1· desi1111 'el /or 1/,e IISI' o/ the Tal1<•r11ucle co"!l"'fl<llÍrm. ;,, lo11do11 ( 1753), pp. 24- 25. The onc attempt at rcstoring thc original couplet in thc 1904 Hym¡¡s A11ci,•111 & Modem cost thc compilcr, heavily. See Baker, Represerttuti>e Verse, p. 12.

" His third direction to users of his 1761 Sacred Melody read: "Sing Al/. Scc that you join with the con·

The Eighteemh-Cemury Hynm Tune 19

corollary emphasis on teaching ali Mcthodists how to read music. His 1761 Selec1 Hym11s. numbering 132 = 1.3.3 hymn texts, H includcs a 12-page section on how to read music that begins with "The Gamut. or Scale of Music." This 12-page insert between texts and the 102 tunes in the 1761 edition gave way to a separately published 12-page pamphlet selling for Jd., Tht> Gro1111ds of Vocal Music. often found bound up with the second and third editions of Select Hym11s ( 1765. 1770). The technical information in both covers sight-singing basics and culminates in four pages of G Major "Lessom for tuning the Voice" that would do credit to a solfeggio manual.

Among other cxtremely important predisposing factors in the Methodist musical upsurge should be mcntioned Charles Wesley's own exccllent taste typified in his adoration of Handcl; 'º both hrothers' eagerness to appropriate good tunes wherever found, cvcn if a Purccll or Handel opera; John Weslcy's free borrowing from the previously untapped Gcrman hymn tune repertory/° Charles Wei.lcy's friendly converse. among other fine musicians. with J. F. Lampe, who after sensational succcss as

gregation a, frequentl) 3\ you can. Lct not a slight degree of \\Caknc,, or \\'eanne,, hinder you. lf it is a ero,\ to you. take it up. and you "'" find it a ble,,ing."' Hi, ,trcss on rongrcgattonal ,1ng111g ga,e carl) Methodism its distincti,c fla"or. Scc Watkm, Sha". "A Hi\lor) of Church Mu,ic in Fngland from the Rcíormation to the Prl·,ent Day" in Fricdrt"h Blumc. J'mte.w1111 Cl111rclt M11sic A H,smry• (Ne" York: W . W Norton. l<l741. pp. 726-727.

'Green. p . 117. "Baker. Rt>rm•se11wti1'1' V.·rs,·. p. JI 1 ("Writtcn in Handcl'~ Lessons."' "Ode on Handel', Birthday").

He wrotc two of his Scri¡,111r¡• Hymus a, contrafacta to be sung to the air in Handcl'sS011gs i11 l 'All<'II"' ed 11 Pt'11ur11so ( 1740) "Lct me Wandcr. not unscen" (Baker. p . 27h). Ever true to Handel. he rated Fdice de G,ardini ( 1716-17%) and Johann Chriman Bach ( 1735-1 '82) a, having "cut Old Music's throat" (p. JI 2).

'''Founder) 11742) conta1ned ,ixteen German tune borro .. ings: items l. J. 8, 10. IJ. 14, 19, 27. 28, 2Q, JO. 35. Jb. J7. J9. 41. S11cml Mt"lody ( 171:JI) added four more ne" borrowings: item, 1. 2. 28. 46. F.xcept for 28 and 41. thc Foundcry German tunes can be thu, traccd m Johanncs Zahn. 1)1(' Melmli,•11 df'r

1lt'11tsd1.-11 e,·1111/i/e/,sclt,•11 Kird1t•11/ted1•r (Gutcr\)oh: Bertel,mann. J889- 18Q3 (6 ,olume<ilJ: HfMDVKf (Zahn M.51:Ja - F. G. Ebcrling. 11:J/:J/:J). 1 HE RBIC.NATION (52Ma = W. Figulus, 1575). SAvANNAH (3980 ,,.. J. A. Fn:ylmghausen. 1 '05). HERRNHUTlt (125h = J. Thommen. 1745). FRANKíORr (3651 Mciningen. ll:JQ3). LOVE FEAS1 (/:JSISd Wcrnígerodc. 1742). MARIENBOLRN (212b A. Kriegeo. Jt,67). FIRST GERMAN (352 G. Rha". 15441. JERA (1'!8 = N. Hcrmann. ISS4J. SECÓNo GERMAN (788 = Knorr ,. Rosenroth. 1684). AMSTEROAM (7J4la = J. G. Hille. 1739), SLow GERMAN (2778 = G. Neumark. lt,57). PtAVFORo·s (2561 = Geistliche Lieder. 1539). and Swtf'T GERMAN (2781 = Musikahsch Hand· Buch. 11:JQO). Founder) tune, J. 19. and 37 "ere lc111:d b~· J. S. Bach iBWV /:JIJ and Anh. 54. BWV 391:J. BWV QJ and 43-IJ Tune 41 111 Founder) -1 IJTH PsAtM-oríginated in the Km/,.,m,1111 printed a1

Stra,bour11 in 1525. "hence it passed mto Cahin's A11/c1111s !''"""'""'' (Strasbourg. 15J9). mto Frcnch Genevan psaltc . and into Fuurf' Score a11d Seum Psalmes, IS/:JI. Thi, was the last tune that John Wesley sang (with Isaac Watts's ''1' 11 praise my Maker while l've breath") March 1. J 791. the day before he died. See Hm1Jr1n1/ Com¡,u111011 w Hymt/ j A11cie111 & Modrm. p. /:J02. Tune 39 in Foundery PlAYfORD

0

S 1 = Luther, V,11¡,r 111,ser I ISJO) - Oto 112TH), hrst appcart>d in England a, the tune for Cox·s Lord's Prayer 111 />salmes ri/ D111·id III Eughs/11• M,•m•. 151:JO. andas the tune for Psalm 112 in 151:JI . 1 he tune SAVANNAH

ti! in Foundcryl. rechrhtencd IREN~ in later Methodm colle,·tions. "ª' but one of many tune, giYen ne" names to coníuse the tune genealogm. Stow GfJIMAN. Georg Neumark·, lóS7 melody indudcd m 181:Jl 18M and IQ04 ednions of Hy11111s Anc,,,111 & Mridem "llh the title 8RFMEN. turns up greatly altcred in Thomas Butt,'s Humw111<1 S11crt1, c. 171:JO. in the 171:JI S111"r.'d M1•/mly and 1781 S11cred H,mmmy as Pl 1111<:K WoRSHIP (andas \tated abme. footnote 10. in Lyon's Ur1111i<I. l 7bl ). The 1742 and 1760 = 1761 1er\iom of th1s fa,orite tune of J. S. Bach mcrn comparison (in 171:JO and later. the tcxt is John Wesle} \ tran,lation of ··Gott is gegen,.artig°. from Gerhard Terstttgen's c,,,sthcl11·s 8i,,111,,11·G11rtlr111. 1729. as publi,hcd in Hym11s "'"' S111"r1·d P111•111s. 1 7JQ ).

---20 INTER·AMERICAN MUSIC REVIEW

a Covent Carden composer published a collection of 24 exquisite tunes for Charles's" Hym11s 011 the Crear Fesrivals. <md orher Occasio11s (London: M. Cooper, 1746; 2d ed .. 1753): and the willingness of both brothcrs to stick with good tunes. once found, through successive Methodist tune books until at last thcy bccame decply ingrained

SLOW GERMAN TUNE

ll ·o,1ndcr)' , 1742, p. 301

:f--:a=:-=--=-=--gfJ :~gz; ~~. ---t-- N r fflr 4 r

My Fa - ther, O my Fa th•t Now

~ -:.---thy and

a Ser - vau1 1 ap

=1=#= if=lffer:~1 J weak · "" ch,ld 's ,m ¡,er - kct yct thuu k11ow's1 the Heir of

~-Fa~~~ ~..;~~7~~ .. O makc me know a~ 1 arn knuw11

11

1

Son·!

1 Hamzonia Sacro, c. 1760, p. 251 IUromo. 1761, pp. 17&-1791

PUIJLICK WORSHIP

.A hear pe...-

11

Call! all.

Speak

-11

11

1 pbtF=-~4=1 Lo, God is here ! let Lel all wilh - in us

us feet

r--3----,

~ J>fr Fl-r=a JfPB r"~?;J own how dread - ful is si lent bow

' ...---....

81 r 1 "A 1

knows his Pow'r, his Gr a.ce

* 11 .J 110

him with Awe,

Fp? 1 2 :-J r 1

WÍlh Rev'

a dore, And his Pow'r, And

,J 11 ~a=F@ lhis l'lac,id his F"acc, Who

r b 0 11+@ who prove, Serve

.w t 11 ji rence, Love.

"Conccrning thc cxccptional 51orc tha1 both We,ley brothcrs 100k by thesc Lampe tunes, 5CC Green, p. 48. Threc of Lampe·, 174b tunc5 joincd C'harlc,·s ¡m,viou~ly unpublishcd tc,t,. Lampe·, H) rnn 1 '.' beca me rhc tune for Samucl Weslcy. Jr'5 "'Ho ly holy Gho,t Jchovah, l"hird in ordcr of 1hc Thrcc" m Sacn-d Me/,,r(1. 1770 ed., p. J4. where it is newly entitled TRtNll'Y. Percy Scholes. Th<' Oxford Compa11io11 ro Mu sic (London: Oxford University Prcss. 19J8), rcproduced Lampe·s Mus1c1ANS on Plate 102, oppositc p. 570.

The Eighteenrh-Century Hym11 Tune 21

enough to be called Methodi~t common property. "Love divine. ali loves excelling" appeared in Se/ect Hym11s (1770 ed .. p. 92) with a tune callcd WESTMINSTER that is an arrangcment of Purcell's "Fairest isle" from Kit1g Arthur: or. the Britisl, Worthy A Drama tick Opera ( 1691 ), the text by John Dryden.

1Sacred Melody. 1761. p. 92; Sucrl'd Hurmo11y. 1788. pp. 43-44)

Mb -- - ~=-i ~ = r;-r-i -=t~=tt·#-t~r~ Lov.: 11, - vm.:, all Lo-..,, él - c.:11 - ,ng, Joy of ht 1n u, lh) hum bk l>w.:I - ling, /\11 lhy

~fl=i-1-=11_./1- J.--! ~J. JITllztt-R tlc~v·n to ~arlh come down; la1Jlh • lul Mer • cws t·rown; Je • >US lhou Mrl

all Com-pa>!> - ion, l'ur.: un - bound - "d Lo...: thou

A art, Vos lt us Wllh thy Sal-

Ir

1 @jJ- r 15s u 1 r J 1 J. 1 ~-" ter ., .. ry tremb long Hearl.

A Handel opera tune borrowed by the Wcsleys from Riccardo Primo Opera;,, tre Atti (Handel. Werke. Vol. 74, p. 118) mounted November 11 , 1727. at the Haymarket Theatre. turns up in the Foundery collection as JERICHO (in D. pp. 5-6) as a setting of "Commit thou all thy Griefs and Ways into his Hands" by Paul Gerhardt translated by John Wesley.0 and in his Sacred Hynms and Sacred Hormony as HANDEL's

MARCH (in G) as-a setting of Charles Wesley's "Soldiers of Christ. arise."

'·famn T. Hatfield. "John Weslcy·s T ranslations of German Hymns." PMLA. XI 2 (1891>). 171-199. located thc ~ources of 29 1ransla1ions published in five Wesley collections. Charlesto" n. 1737: London. 1731:1. 1739. 1740: Brhtol. 1742 . The Wesle) tune books indudcd music for these IS of the 29 cranslations (f' Foundery. SM = Sucred Mt>/ody. SH - Sucred Hunmmy);

Jesu. to thtt my heart 1 bo" (1737. Zon,endorf). F. CLARK0

S TUNF O Jesu. Source of calm Repose (1737. J. A. Freylinghausen). SM. SH. CANTERBURY My Soul before thee proscrate lies (1737, C. F . Richter). SM, SH. PuosEY ( = F1RST GERMAN

TUNE m F) Thou. Jesu. art our King (17.38. J. Scheíner). F. SM. SH. SAVANNAH (- IRFNE in SM and SH) Thou hidden Lo-e of God (1738. G. Tersteegen). SM. SH. Oto 112TH PSAIM lUNE (=

PLAYFoRo·s in F) Commit thou all thy Grieh ( 1739. P. Gerhardt). F. JERKHO Jesu. chy boundless Lon• 10 me ( 1739. Gerhardc). SM. SH. BRAOFORD ( = ( LARK

0

S 1 UNE in F) O God of God ch' unfathomed Sea (1739. J. Scheffler). SM2 (171>S). SH. 'toRK Lo. God is here (1739. Ter~teegen). SM. SH. MARIFNBOURN ( - PueucK W ORSHIP in Urumu) Fccrnal Depch of Lm·e Divine (1739. ZinLendorf). SM. SH. i\NClESE4

Thee l'ÍII I lo,e (1739. J. Scheffler). SM. SH. CARv·s Extended on a cur;ed Trtt (1740. Gerhardt). SM. BABYLON


HANDEL'S MARCH

Sacr,·J !tMuJy, 1761. pp. 97-98. Saaed llarrrw11y, 17118, pp. 112-113

=i:!-a=f:: r.-~§§_:§-+3Fd#-+f tJ--F ~r 11 Sul & J1l.!rs of l'hrist a - rise9 And pul yourAr· mour on;

Slrung in lh< Lor<l ot Hosls and in his migh • ty Pow.,,,

* rg Strong Who

f*=-ttE4ª!t iJ- i -~#1 t.J J .J J 1 in th•S11-cn¡?thwh1ch(;oJ,uppU•s.through his • · ,.,, nal- Son; in the strcngth uf J• - sus trusts is more than Con-<¡un or, Stand then,in his groat

lo arm )'Ou

~ ;¡ I':'\ I':'\

~ r r rarn, w ; ¡;JI J. F1r .Sr ~oo;qq l'an-o - ply of Go<J: That. having allthin,sdone,An<l:JllyourConfliclpas,..,d,Yé

~#=r=-=f * r Ir .O J JIJ Ir JJ J o- 1 n .CfSffi may oer come through Christ, Ye may oer come through Chrisl alone, And stand entirc at last.

Another much better known Handel borrowing takes its tune name MACCABEES from Judas Maccabueus in which oratorio (and also in Joshua) it matches the text "See the conquering hero comes." In Sacred Harmony (1788, pp. 12-13) the text is Charles Wesley's Easter hynm "Christ the Lord is ris'n today." In thc same tune book. the 1708 tune premiered in lyru Davidica with the title THE RESURRECTION appears as SAUSBURY setting Charles' Christmas hyrnn. "Glory be to God on high. "•3

1 thirst. Thou wounded Lamb of God (1740. Zinzcndorf and others), SM. SH. STOCKTON Holy Lamb. who Thcc rcceivc (1740. A. S. Dober). F. SM. SH. HERRNHUTH ·1 UNE( = SAVAN·

NAH in SM and SH)

Jcsu. Thy Blood and Righteousncss (1740. Zin1endorf), F. SM, SH. CANNON ·1 UNF Of the 15 tunes for German translations, six ,·an be traced immediately or remotcly to German sources: Puosn = FrRST GERMAN descends from 1544 (Georg Rhaw), SAvANNAH = !RENE from 1704 (Frcylinghauscn). ÜLO 112TH l'SALM TUNE from Luther's Vut<•r UIISU, JERICHO from Handel\ March from Ricc11rdo Primu. MARIENBOURN (= PusucK WoRSHtP)-the 312 revision of Stow GFRMAN in Foundcry-from 1657 (Ncumark). HERRNHUTH confusingly rcnamed SAVANNAH in SM and SH was printcd in t 745 (Zahn. 125b and 937). The rest are all presumably English tunes (C ANNON moderni7e, TAtus's CANON. BAaYLON is by Campion. CAav's is by Carey).

"Commit thou all they Gricfs." Hym11s all(/ Sacred f>oems. 1739. was one of Wcsley's thrcc translations from Gcrhardt (1 ó07-167b), next to Luthcr the most popular oí Luthcran hymnists. On Ottober 18. 1736. Wesley recorded in his journal that every day at noon those Germans at Fredcrica. Georgia . who could not undcrstand English wcrc meeting in his housc for a scn•icc that began with the singing of a Gcrman hymn. He prcachcd his last scrmon in Gcrman on November J. 1745. at Newcastle-on-Tync. Scc Hatficld. pp. 17b. 178.

"For fac,imilc of THJ, RESURRECTlON as it appearcd in Lyru D,u•idicu. 1708, p . 11 (\reble and bass). ~ec platc in James T. Lightwood. The M11sic of rlre Merlwdisr Hym11·B0ok, rev. by Francis B. Westbrook (London: Epworth Press, 1955). opposite p. 149. Discussion of thc 1708 imprint follows al pp. 149- 150.


Persuaded to do so by the Methodist second wife .. of the celebrated pantomimist and theatrical manager John Rich. thc idolized Handcl himself composed between 1746 and 1752 three original hymn tunes for Charles Wesley texts." AII three had already been set by his fellow German-turned-Englishman. J. F. Lampe. in the above mentioned 1746 deluxe publication . Hym11s 0 11 the Great Festivals. a11d other Occasio11s. The fact that Handel used as titles for " Sinners. obey the gospel word," "O Love divine, how sweet thou art," and "Rejoice, the L-Ord is King" TttE INVITATION. DESIRING TO LovE. and ÜN THE RESURRECTION, titles to be found only in Lampe. and that the first two hymns' texts were not even in print until Lampe's 1746 publication. forces our believing that Handel had the 1746 Lampe before him while composing. Previous links uniting Handel and Lampe. who reached London around 1725 and quickly gained fame as both the best bassoonist in London and a first-class composer. include Handel's having used him repeatedly in his opera orchestras and having had a double bassoon made especially for him. ••

How do the tunes of these two for the same texts compare? ÜN THE REsURRECTION yields to easiest comparison. since both Lampe and Handel's setting are in D and are marked e¡:. Lampe's setting, twice republished-in 1753 and in James Lyon's pathbreaking Urania. Philadelphia, 1761. pages 186- 187-overflows with his usual Scotch snaps•· and dotted rhythms. Handel. the more conservative, confines the melody to quavers. crotchets. and minims. Lampe modulates only to the dominan!, whence he returns to the tonic. Handel explores more neighboring keys. touching thc rclative minors of both the tonic and subdominant. Lampe appends an extra musica l phrase to accommodate a repetition of the last line of text. Handel in this hymn. as in the other two, provides a figured bass instrumental interlude between stanzas. The melodic range in both the Lampe and Handel RESURRECTION hymns is a major tenth . In their settings of THE INVITATION, Lampe in E flat. 2/4 (Hymn XVIII). requires a minor tenth range. Handel in G minor. 4/ 4, a minor ninth. In DESIRING TO LovE. Lampe in A minor, q: (Hymn XIX), asks a minor ninth, Handel in F Major, 3/4, an octave. Without derogating from Handel's merits-solidity. dignity. affecting wide skips. wider modulations-the Wesley brothers themselves chose to stick with Lampe's much more ornate. rhythmically varied, and soloistic tunes when publishing both Saaed Me/ody and Sacred Ht1rmo11y. By precept as well as example, John Wesley did all possible to promote the use within the Society of Lampe's other tunes. Loyalty to the one prominent composer who had professed his conversion to Mcthodism and had espoused a holy life may have helped influencc John Wesley's preference for Lampe's tunes.

Lyru Du,•idim. dedica1ed 10 William Patersen, conraincd 25 tunes. 9 of "hich are German chorales. 2 are of Lalin dem•ation. and 9 of English. The compiler·, announced purposc was lo in1roduce "a liule frcer air 1han 1he grave mo,emen1 of 1he P~alm·tunes." He hoped 10 provide lhc common folk wilh "shon and ph:asan1 tunes" equal 10 1he German.

"Concerning her. ~ee Du·tirJ11<1,:t• o/ N111wm1/ 8ml(raphy. XVI. IOOJ. ''R. Erne~I Ker. "The Hynins Thal Handel Set to Mu, ,c," Proceed1111(S o/ 1he W esJ,,,, Historie-u/ Socieiy.

XXIX ) (Sc:ptember. 1953). pp. 66-67. proved that Handel had Lampe's publication before him as he composed. Facsímile of the 10-stave oblong ,hect in Handel\ hand .. riung oppos1te p. b8.

"Charles Cud .. onh, "Lampe. Johann Fricdrich," D1<• M11s1k i,1 G,•sc/11ch11• 1111d G,•ge11,..<1rr. VIII ( 1960). 152.

• Lampe dted a1 Edinburgh. Funher biographical de1ail, and proofs of has populanty among early Method1m in Ligh1,.ood. pp. 275-277.


IX Texts as well as tunes in Methodist tune books attcst John Wcslcy's steadfast loyalties to ali who were closest to him. whether father. two brothers. a mcmber of his Oxford Holy Club. or his preachcrs. Even family texts of less than primal power wcrc given a fresh lease on life by vinue of the fine tunes assigned them from Foundery to Sacred Harmony. One of Lampe's strongest Lombard tunes, Hymn XVII, ÜN THE TRINITY. returns in Sacred harmony. 1788, pages 40-41. both times mínus any Charles Wesley text but as a setting of a hymn by Samuel Wesley Junior. "Hail. holy, holy, holy Lord!" (already printed as early as thc l 7J7 Charlestown collection. Hymn XIV, p. 14). The same Lampe tune does duty in Sucred Melody. 1770, (p. J4) for "Hail, Holy Ghost Jehovah" (Charlestown. Hymn XIII, p. 13). Two other tcxts by his brother Samuel ( 1691-1739) published in Charlestown. pagcs 11-12. 44-45. turn up with compelling tunes in both Sucred Mefody and Sacred Har111011y: BROOK

0

S called BENSON in Timbrell, Di11i11e Musick Scho/ar's Guide. c. 1723; GREAT M1LTON in Thomas Moore. The Psalm Singer's Compleat Tutor. 1750; MIL -')N in Abraham Adams, The Psa/mist ·s New Compa11io11. 6th ed .. c. 1769 ("Hail, Father. whose creating call"); and WENWO ("From whence these dire portents around"). Not only did John keep alive rathcr recondite texts by his brother Samucl but also by his father Samucl (1062-1735). "Ye priests of God whose happy days" and "O thou who when 1 did complain" culled from Samuel Wesley Senior's The Pious Co1111111111ica111 RightZv Prepared (1700. 1716; the texts of both are in Charlestown, 1737, pp. 6-7. 8 = Psalms CXIII. CXVI) were kept current becausc John willcd it so. Foundery includes "Ye priests of God" to the 113TH PsALM tune popular sínce Foure score and seue11 Psalmes oj Dauid in English mitre by Thomas srerneholde and others, 1561. Both Sacred Melody and Sacred Harmony wed "O thou who when I did complain" to the long-Jived BEDFORD tune by William Wheale first published in Timbrell, c. l 72J.4" Moving out of the immedíate family circle to associates in his Oxford Holy Club. John Weslcy published Thomas Broughton's "On God supreme our Hope depends (Psalm XL VI) first in Charlestown. 1737. page 4. and five years later in Foundery joined to the supremely popular tune ST. MARY or LITCHFIELD. Launched in Edmund Prys's Llyfr y Psa/mau (1621) as thc tune for Psalm 2, this tune gained John Playford's cachet when in The Who/e Book oj Psalms ( 1677; 20th ed .. 1757) he íncluded itas the one Welsh tune.

Just as John Wesley's choice of excellent tunes helpcd keep alive texts by the less gifted poetizcrs in hís family circle and among his early associates, so also he used Mcthodist tune books as conduits for new melodies by later converts. The most musically apt was of course Lampe. Thomas Olivers (1725-1799), for 22 years a Methodist itinerant preacher. composed the noble tune HELMSLEY (called ÜLIVERS in the 1765 cdition of Sacred Mefody) and transcribed the tune LEONI (Sacred Har· 111011y. 1781 ). Thc first tune joined Charles Wesley's "Lo he comes with clouds descending" (1758), the other belongs to Olivers's paraphrase of the Yigdal. "The God of Abraham praisc. " 'º

"Both tune~ are in Ur<111i11. pp. 4 and 70-71. S<1<'1"1'cl M,·lody and S<1cred H,m11011y ( 1788. pp. 108-109) filted Watts's 'TII praise my Maker while !"ve breath"" (tcxt in Charlestown Colleclion. pp. 9-10). to 01 o 113TH. On John Wcsley"s fondness for ÜLO 113TH. ,ee Lightwood. pp. J47-J48.

"C. S. Phillips. Hym11ody P<1s1 ,md Pr.•.t1•11t (London: Socicty for thc Promotion of Christian Knowlcdge. 1937). p. 181. link\ L<-"111 v.ith thc tune ""Wh). ,oldicr,. why"" ,ung in Thoma, Odell"5 T/u• Patro11: Or. The S1aresma11 ·s O¡,er<1 (London: W. Pcarson. 1729). pp. 7-8. The rcsemblances are by no meaos crucial.

The Eighteenth-Century Hym11 Tune 25

Viewed synoptically, the role of the Wesleys in eighteenth-century tune history looms scarcely less large than their role as hymn text divulgcrs. John Wesley was not the first in his century to import German tunes. In 1708 the compiler of Lyra Davidica preceded him, as in 1720 and 1722 did J. C. Jacobi (A Col/ectio11 of Divine Hymns: first volume of Psalmodia Germa11ica). But he was certainly the first to wash them into the mainstream of English hymnology. ~0 The Wesleys werc also the first who unblushingly adapted numcrous secular tunes from both folk and art repertories. ~, Charles defended doing so in a poem on "The True Use of Musick" (Hymns and Sacred Poems. 1749, no. 189), the second strophe of which reads:

Who on the Part of God will rise Innocent Sound recover. Fly on the Prey, and take the Prize. Plunder the Carnal Lover. Strip him of every moving Strain. Every melting Measure, Musick in Virtue·s Cause retain. Rescue the Holy Pleasure?

'ºMiles Co,·erdale·s attempt at importing German hymnody into England. Goost(I' Psu/nu•s 0111/

Spiritrw/1 S011¡¡es (l5J9/JS4J). was thc first step but in its time exerted no lasting influencc. See Frost. Historica/ Conrpa11io11. pp. JJ. 97.

"Although W. H. Grattan Flood·s jingoist attcmpt at making" ·cuardian Angels' by Charles T homas C"arter of Dublin" the prototype of HELMSLEY (1 765) (Gro.-., ·s Dictiomuy oj M11sic ,md Musiciu11s. Jd ed .. l. 571-572) has now been long discredited. it cannot be denied that Wesley tune books did give ever widcr berth to adaptations from secular sourccs. Against only J ER1n10 adapted from Handel's Riccardo Primo in Foundery. Sucred Mc4ody contained nine adaptations- itcms 8. IS. 17. 27. 29. JI. SO. 59. 62 ... Love divine all loves excelling .. (Hym11sfor Those Tlrnt S<'eA:. u11d T/rou Thar Hu,•e Redemp1io11. 1747. no. 9) and "He comes. he come, the Judge severe .. (Hym11s of l111erassicm f or Al/ Mc111ki11d. 1758. no. 37) exemplify the sacred contraíacta in the 1761 collection. The one "ªs "ritten for Henry Purcelrs ··fairest 1,1e:· Ki11g Arrlwr. the other for Henry Carey's "He comes. 1he hero comes.'' Bri1,11111i11 und B,uu .. i11 (George Lillo ll69J- l7J91. 1740). The latter air. frequen1ly rcpublished as a separate song. anthologized. and popular enough to be reprintcd as late a, Suci<1/ H11rmo11y. London. 1818. p. 219. was originally composed to a text honoring Edward Vernon. who~e forces took Portobelo in l,Hc November 1739. Not only Carey", tune ( in A Major in Clio 11ml E111erpe or Britis/r Hurmony 11762). [. 72) but also Lillo's text inspired Charles Wesley: .. He comes he come, thc Hcro come, Sound sound your Trumpets beat beat )'Our Drums from Pon to Port Jet Cannons roar hi, Wclcome to the British ~hoar Wclcome Welcon1c Wekome Wclcome Welcomc to the British Shoar ...

JUDGMENT

(Sacred Me/ody. 1761, pp. 50-51; Sacred Harmo11y. 1788. pp. 59-601

~~ffi H.: comes. hé comes, the JuJ~c s• - v.:rc thc S..venth Trum-pel speaks Him near His

¡bt- ~ ~~r=,d jf& P Fl L,~ht · 11in¡¡s 11 ... ,h h"' Thun-1.kr. ,ull How wel-come to the íaith ful Soul.

~ -i=Jgg~ r r Ir P r r J@¡Aj=:j Wel-comc. wel-comc. w.:1-come, wt:1-come. Wt!l-com" to lht! faith fulSoul.

26 lNTER-AMERlCAN MUSIC REVIEW

Frank Baker reports two sources for the tradition that whilc preaching at Plymouth in June of 1746 Charles Wesley seized a sailor's tune called Na,u:v Dawso11. and wrote a sacrcd poem to it-perhaps the very one just quoted." The identifiable secular tunes in the Wesley tune books divagated so widely in the last. Sacred Harmony. as to includc ATHI.ONE believed by Lightwood to have been derived from Roisin Dubh = My Li11/e Black Rose by Turlogh Carolan ( 1670-1738). SJ These borrowings have proved a stumbling block and an offcnse to those who condemn Handel for basing "And He shall purify." "For unto usa Child is born," "His yoke is easy," and "Ali we likc sheep" on his ltalian-text secular duets composed July I and 3. 1741. or Bach for basing eleven numbers of his Wei11acl11sorc11ori11m. 1734/5, on music of three previously eomposed secular cantatas. s, But taken in their proper context. thcy frame John Wesley as the most open-minded and outreaching denominational founder since Luther. so far as congregational hymn-singing goes.

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" Bach commandeered ~ix numbers from Herc11/es 011/ clf'm Scirei,leweJ!•'. four from Tó111'1 ihr Pc111ke11. and one from Preise tlei11 G/11cke. all secular clfusions honoring Saxon royalty (September S and Deccmbcr !!, l 7JJ: Octobcr S. 1734), for reuse in his Christmas Oratorio.


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The Eightee11th-Ce11tury Hym11 Tu11e 29

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the eighteenth-century hymn tune

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