Book Five

of the _Hymnary_, may be briefly summarized as follows:

The church in Scotland, at the time of the Reformation, modeled its service after Calvin’s in Geneva. No hymns were permitted to be sung; only the Words of inspired Scripture were allowed for use in worship. For two hundred years after Luther had inspired a rich treasury of “man-made” poems for use in congregational singing, the Calvinistic churches were still using only psalms and paraphrases of Scripture.

In compiling a Psalter, the Scottish reformers adopted the entire _Anglo-Genevan Psalter_ used by John Knox, to which they added selections from the English _Old Version_ by Sternhold and Hopkins, and 21 more by Scottish writers. Tunes, over 100 in all, were adopted from the Anglo-Genevan, French, and English Psalters, in each case the melody only being printed. In 1635 an edition was published with the tunes in harmony, the work of Edmund Millar.

In 1643, the House of Commons and the Westminster Assembly, interested in establishing uniformity of worship between the churches of England and Scotland, voted to adopt Francis Rous’ version of the psalms for use throughout the kingdom, after extensive revisions of the work. The Scottish church, not satisfied with the Rous’ version, appointed a commission of four men to revise it still farther, largely to satisfy the Puritan demand for more literalness to the Hebrew original. The result of this revision was the classic _Scottish Psalter_ of 1650, still in use in Scottish Presbyterianism and in American Covenanter Churches. The renderings are quaint and rude in spots but their faithfulness and vigor cannot be denied. It is in this form that millions of people have learned to love the psalms and all attempts to improve or modernize them have so far failed.

Unfortunately, no tunes were provided with the _Scottish Psalter_ of 1650. This limited the singing to such tunes as precentor and people knew by heart, resulting in a long period of decline in church music in the Church of Scotland. Later editions corrected this defect. In 1929, the General Assemblies of the Church of Scotland and the United Free Church of Scotland, then entered into union, published a new edition of the _Scottish Psalter_, with 192 tunes.

576. Lord, Thou shalt early hear my voice _Psalm V_ _Scottish Psalter_, 1650

Psalm 5:3, 4, 7, 11. A Prayer for Divine Aid.

A morning prayer in which the Psalmist confidently looks to God, assured of an answer. He shows a deep concern for ethical purity and sincerity in worship.

_MUSIC._ For comments on WARWICK see Hymn 20.

577. Within Thy tabernacle, Lord _Psalm XV_ _Scottish Psalter_, 1650

Psalm 15. The Friend of God.

The psalm speaks of the type of life that brings man into the Divine Presence and makes of him a good citizen.

_MUSIC._ TALLIS’ ORDINAL. For comments on this tune see Hymn 326.

578. God’s law is perfect, and converts _Psalm XIX_ _Scottish Psalter_, 1650

Psalm 19:7-11. God’s Praise in the Moral Universe.

The psalm describes God’s revelation to man. God is revealed to us “in the starry heavens above and in the moral law within,” (to use the phrase of Immanuel Kant). The hymn, composed of verses 7-11, deals only with the latter, the law in the heart.

_MUSIC._ ST. ANDREW appeared in _The New Harmony of Sion_ by William Tans’ur, in 1764, where it was set to Psalm 150, and inscribed “Barby Tune, composed in four parts, W.T.” The initials may mean only that the harmony was by Tans’ur.

For comments on William Tans’ur see Hymn 74.

579. The Lord’s my Shepherd, I’ll not want _Psalm XXIII_ _Scottish Psalter_, 1650

Psalm 23. The Good Shepherd Psalm. It has probably been translated and paraphrased more frequently than any other piece of literature in the world, yet always carries the same joyous and sure faith in the Good Shepherd. A version by James Montgomery is found at No. 62.

_MUSIC._ MARTYRDOM. For comments on this tune see Hymn 108.

580. Ye gates, lift up your heads on high _Psalm XXIV_ _Scottish Psalter_, 1650

Psalm 24:7-10. A Marching Chorus and Triumphant Song of Victory.

The procession escorting the ark, symbol of God’s presence, has now reached the city gates and Jerusalem is called upon to open wide its gates to its true King. “Raise up your arches, O gates, and open wide your ancient doors, that the King of Glory may enter in.” The full glory of God can come into our lives only as we enlarge the receiving facilities of our hearts and minds.

_MUSIC._ ST. GEORGE’S, EDINBURGH was composed especially for these words by Dr. Andrew Thomson, minister of the church by the above name in Edinburgh. It became the custom in many places in Scotland for the congregation to sing this psalm at Communion while ministers and elders in solemn procession brought the bread and wine into the church before the administration of the sacrament.

Andrew Thomson, 1778-1831, trained in the University of Edinburgh, was an outstanding Scottish Presbyterian preacher and leading public figure in Edinburgh. He had musical gifts and set himself to improve the psalmody of his church and composed a number of tunes. In collaboration with his precentor, R. A. Smith, he compiled several collections of psalms and hymns. He also published books of sermons and lectures and wrote numerous magazine articles. Thomson died suddenly within a few steps of his own door when returning from a Presbytery meeting. His son became professor of music in the University of Edinburgh.

581. Show me thy ways, O Lord _Psalm XXV_ _Scottish Psalter_, 1650

Psalm 25:4-7. A Prayer to God for Guidance and Forgiveness.

_MUSIC._ ST. BRIDE appeared in _Parochial Harmony; consisting of a collection of Psalm tunes in three and four parts, &c._, by William Riley, 1762, where it was set to the new version of Psalm 130 and headed “St. Bridget’s Tune by Mr. Sam’l Howard.” The tune is in strict psalm-tune style and therefore simple in structure. But it has strength and high quality and is deserving of its wide and continuous use.

Samuel Howard, 1710-82, London musician, was organist of St. Clement Danes and of St. Bride’s churches. He was a popular composer of both sacred and secular music.

582. The Lord’s my light and saving health _Psalm XXVII_ _Scottish Psalter_, 1650

Psalm 27:1-5. A Song of Assurance.

These verses reflect a confidence that knows no fear in the midst of danger, because of God’s protecting care.

_MUSIC._ ST. MAGNUS, also called “Nottingham,” is a “good solid melody, built on familiar lines.” It appeared, anonymously, in 1709 in a book called _The Divine Companion: or David’s Harp new tuned. Being a choice collection of New and Easy Psalms, Hymns and Anthems._ In 1762 the tune, bearing its present name and assigned to Jeremiah Clark, appeared in W. Riley’s _Parochial Harmony_. In Gawthorn’s _Harmonia Perfecta_, 1730, it is named “Nottingham.”

The composer, Jeremiah Clark, 1670-1707, a Londoner of keen sensibility and gifted musicianship, wrote operatic music, a cantata, numerous songs, and church music-anthems and psalm tunes. In a mood of despondency he took his own life.

583. Through all the changing scenes of life _Psalm XXXIV_ _New Version, Tate and Brady_, 1698

Psalm 34:1-10, 22. The Goodness of God.

A hymn of praise to God for his care and protection in time of great need.

Most of our metrical psalms in the _Hymnary_ are from the _Scottish Psalter_, 1650. (See under Hymn 575.) But this one is from the revised edition of 1698, of the _New Version of the Psalms_ first published in England in 1696, by the two Irishmen, Tate and Brady. This version

## partly supplanted in England the older version of Sternhold and Hopkins.

Nahum Tate, 1652-1715, son of an Irish clergyman, was a literary man, playwright, and a poet. Finally, to the surprise of everyone, he became poet laureate, by appointment of William III.

Nicholas Brady, 1659-1726?, received the degree of D.D. from Dublin University and had a varied clerical career in Ireland and England, finally becoming chaplain to King William. Brady and Tate collaborated to produce the _New Version_, a work which received royal endorsement and was officially adopted in England. Though better in smoothness and literary grace than the versions of Sternhold and Hopkins, very little of it remains in modern hymnals. This hymn and “As pants the hart,” (586), are among the gems still in use. “While shepherds watched their flocks by night” (73 and 74) a masterly adaptation of the Nativity story, appeared in the supplement of the _New Version_, 1703, and is found today in nearly all hymnals.

_MUSIC._ WILTSHIRE, known in Scotland as “New St. Ann,” appeared first in _Divine Amusement_, by Sir G. Grant, set to Psalm 48. The tune appears with variants in other collections.

The composer, George Thomas Smart, 1776-1867, was an organist and composer and a popular conductor of choral groups in London. He gave lessons in singing and harpsichord and composed anthems, chants and psalm tunes.

584. O children, hither do ye come _Psalm XXXIV_ _Scottish Psalter_, 1650

Psalm 34:11-19. The Goodness of God.

The psalmist here becomes a teacher, instructing his listeners in the right paths of life.

_MUSIC._ ARNOLD was first published in _The Psalms of David for the Use of Parish Churches. The Music celected, adapted, and composed by Dr. Arnold ... assisted by J. W. Callcott_, 1791. The tune was set to Psalm 15, arranged so that the first two lines should be sung as a duet by soprano and alto, repeated as a duet by tenor and bass, and then the third and fourth lines sung in full chorus. The present form of the tune is first found in Scotland in Robert Gilmore’s _Psalm Singer’s Assistant_ (undated, but before 1793).

Samuel Arnold, 1740-1802, after ventures and heavy losses in the theater business, received the degree of Mus. Doc. from Oxford and then became organist and composer to the Royal Chapel. Later he became conductor at the Academy of Ancient Music, and in 1789 was appointed organist of Westminster Abbey. He wrote numerous songs, four oratorios and many anthems and edited important musical works, including _The Works of Handel_, in thirty-six volumes, at the request of King George III.

585. I waited for the Lord my God _Psalm XL_ _Scottish Psalter_, 1650

Psalm 40:1-5. A Prayer for Speedy Relief from Trouble.

After long and patient waiting, the psalmist’s prayer for relief from trouble has been answered, giving occasion for fresh thanksgiving for His mercy.

_MUSIC._ BALLERMA. For comments on this tune see Hymn 57.

Robert Simpson, 1790-1832, who adapted this tune from a melody by F. H. Barthélemon (See Hymn 57) was a weaver by trade, but of good education and fine musical taste. He was choir-leader in a Congregational Church in Glasgow, then became precentor and session-clerk of the East Parish church at Greenock, at a salary of forty pounds a year, and from that time onward made music his profession. Of weak constitution, he fell victim of one of the cholera epidemics.

586. As pants the hart for cooling streams _Psalm XLII_ _New Version, Tate and Brady_, 1698

Psalm 42:1, 2, 5, 9, 11. Exiled from the House of God.

The psalmist, alone among taunting heathen strangers, yearns to return to the place of worship where he may again commune with God. His faith is sorely tried but it does not fail him. He recalls the mercy of God and renews his hope in God.

For comments on _New Version_, Tate and Brady, see Hymn 583.

_MUSIC._ SPOHR is an adaptation from the solo and chorus, “Though all thy friends forsake thee,” in _Calvary_, an oratorio by Spohr.

Ludwig Spohr, 1784-1859, a German musician, born at Brunswick, was a composer and noted violinist. He went annually on concert tours throughout Europe, with brilliant success. Few musicians have enjoyed so high a reputation with their contemporaries. Many musicians of his time considered Spohr a greater composer than Beethoven. His reputation, however, did not stand the test of time, partly because his compositions are characterized by a peculiar chromaticism. Most of his numerous works, including operas, oratorios, 34 string quartets, violin concertos, etc., have been forgotten. His oratorios, _Calvary_ and _The Last Judgment_, lasted longest.

The tune, “St. Anne,” now fittingly sung to “O God our help in ages past,” (No. 61), was composed for this psalm, and may be used as an alternative tune. The Psalm has also been set to “Martyrdom” (579).

587. O send Thy light forth and Thy truth _Psalm XLIII_ _Scottish Psalter_, 1650

Psalm 43:3-5. Exiled from the House of God (continued).

Psalm 43 is clearly a continuation of Psalm 42. The same spirit, language and situation are to be found in both and each ends with the same refrain. Psalm 42 speaks of God as a fountain of living water; Psalm 43, as a guiding light. These vivid metaphors are combined in Psalm 36:9: “For with Thee is the fountain of life; in Thy light do we see light.”

_MUSIC._ FARRANT is adapted from an air in the anthem, “Lord, for thy tender mercies’ sake.” usually attributed to the English organist and composer, Richard Farrant, c. 1530-1580, but by some to John Hilton, and by others to William Mundy.

588. God is our refuge and our strength _Psalm XLVI_ _Scottish Psalter_, 1650

Psalm 46:1-5. The Mighty God.

Psalm 46 has been a source of strength in time of dire distress, sustaining the spirit of the persecuted and dying, in all ages.

One should compare this version from the _Scottish Psalter_ with that of Isaac Watts (No. 257), and of Martin Luther in his classic hymn of the Reformation, “Ein feste Burg ist unser Gott” (No. 549).

_MUSIC._ WINCHESTER OLD is from _Este’s Psalter_ which was entitled “_The Whole Booke of Psalmes with their wonted Tunes, as they are song in churches, composed into foure parts ... compiled by sondry authors_,” London, Thomas Este, 1592, where it is set to Psalm 84.

Thomas Este, 1540?-1608?, was a London printer and music publisher. He printed an important edition of the psalter in 1592 in which the tunes were harmonized in four parts by ten eminent musicians of the time. In his dedicatory word Este wrote: “In this booke the Church Tunes are carefully corrected, and other short tunes added, which are sung in London and other places of this Realme.” The Church Tunes (known also as Proper Tunes), forty-six in all, were attached to their proper psalms and the remaining psalms were set to short, four line tunes, Common Tunes, not attached to any particular psalms. Este’s book is the earliest example in which the voice parts are printed on opposite pages—“Cantus and Tenor (i.e. the Melody) on the left-hand page, and the Altus and Bassus on the right”—instead of in separate books as was then the custom. New editions of _Este’s Psalter_, with slight changes, were published in 1594, 1604, and 1611. In the 19th century it had the honor of being reprinted by the Musical Antiquarian Society of England.

589. After Thy loving-kindness, Lord _Psalm LI_ _Scottish Psalter_, 1650

Psalm 51:1-3, 10, 17. A Prayer for Pardon.

The psalmist prays for pardon and cleansing, confessing the greatness of his sins, and offering the sacrifice of a broken heart. Psalm 51 is the fourth of the seven psalms known from ancient times as the Penitential Psalms. The others are 6, 32, 38, 102, 130, and 143.

_MUSIC._ DUNDEE, also known as “Windsor,” is first found in Damon’s _Psalter_, which was entitled, _The Booke of the Musicke of M. William Damon, late one of her maiestes Musitions: conteining all the tunes of David’s Psalmes, as they are ordinarily sung in the Church; most excellently by him composed into 4 parts_, 1591. The tune, DUNDEE, is there set to Psalm 116.

Damon’s _Psalter_ was one of the many private editions through which the _Old Version_ of Sternhold and Hopkins went, besides numerous official editions. William Damon, c.1540-c.91, was organist of the Chapel Royal under Queen Elizabeth but is best known for the collection of psalms which he published in four parts. The work is in eight books, the first four of which have the melody in the tenor, and the second four in the soprano. Copies of Damon’s _Psalter_ are rare. A few are to be found in the British Museum.

590. Praise waits for Thee in Zion, Lord _Psalm LXV_ _Scottish Psalter_, 1650

Psalm 65:1-4. A Liturgy.

A hymn of praise and thanksgiving to God for an exceptionally abundant harvest.

_MUSIC._ ST. STEPHEN (ABRIDGE).

For comments on this tune see Hymn 266.

591. His name forever shall endure _Psalm LXXII_ _Scottish Psalter_, 1650

Psalm 72:17-19. A Description of the Ideal King.

A universal hymn of praise.

_MUSIC._ For comments on the tune, DUNFERMLINE, see Hymn 575.

592. How lovely are Thy dwellings fair _Psalm LXXXIV_ _John Milton_, 1608-74

Psalm 84:1-7, 12. The Joy of the Godly.

One of the Songs of the Sanctuary, expressing the joy and happiness of the pilgrim who, coming from afar, has at last arrived at the sanctuary of his God at Jerusalem. The vale of Baca (v. 6), a waterless, barren valley through which he passed on the journey to Jerusalem, became, to the devoted pilgrim, a place of springs and refreshment.

The version here is by John Milton and constitutes an improvement over that in the _Scottish Psalter_.

For comments on Milton see Hymn 64.

_MUSIC._ SALZBURG. For comments on this tune by J. Haydn see Hymn 167. A different tune by J. Hintze bears the same name (No. 545).

593. The Lord doth reign, and clothed is He _Psalm XCIII_ _Scottish Psalter_, 1650

Psalm 93. The Ruler of the Universe.

A Song of Thanksgiving in which the psalmist celebrates God’s sovereignty, not only over Israel, but over the whole world.

_MUSIC._ IRISH. For comments on this tune see Hymn 268.

594. All people that on earth do dwell _Psalm C_ _William Kethe_, _c._ 1561 _Scottish Psalter_, 1650

Psalm 100. The Faithful God.

The Psalm was used as a processional hymn to be chanted by the people as they went up to the temple for worship.

Sclater, in _The Public Worship of God_, discussing opening hymns of adoration, says: “There is none better than that grand old Puritan anthem, the 100th Psalm, set to Louis Bourgeois’ noble tune,” and adds that “those who are in perplexity to find hymns which precisely fit into various parts of the service might do a great deal worse than take a look at the Scottish Metrical Psalms. They will find them peculiarly rich in the noblest and simplest form of opening adoration.”

In verse 4 the printer has omitted the question mark (?) after the word “why,” in the early editions of the _Hymnary_.

William Kethe, to whom this version is ascribed, was one of the exiles with John Knox in Geneva during the persecutions of Mary, Queen of the Scots. Little is known of him but his name has been immortalized by this justly renowned paraphrase of Psalm 100.

_MUSIC._ OLD HUNDREDTH is the most famous of all Psalm tunes. It was adapted from a secular source by L. Bourgeois for Psalm 134 in the _Genevan Psalter_ of 1551. In later collections—the Genevan _Fourscore and Seven Psalms of David_, and John Day’s _Whole Book of Psalms_, both published in 1561—the tune was attached to Kethe’s version of Psalm 100 and has remained associated with this Psalm ever since. The tune is one of 46 known as “Proper” or “Church” tunes which are distinguished by the adjective “Old” prefixed to the number of the psalm to which they were attached. A later form of the melody, introduced about the middle of the 18th century, is widely used with the “Doxology” (No. 618).

For comments on Louis Bourgeois see Hymn 34.

595. Thou shalt arise, and mercy yet _Psalm CII_ _Scottish Psalter_, 1650

Psalm 102:13-22. The Everlasting God.

One of the Penitential Psalms. (See under Hymn 589.)

Zion is in ruins and her people in exile, but God, who is unchangeable, will yet fulfill His promises to His people and make Jerusalem the center of a world-wide worship.

_MUSIC._ DUKE STREET. For comments on this tune see Hymn 341.

596. O thou my soul bless God the Lord _Psalm CIII_ _Scottish Psalter_, 1650

Psalm 103:1-5. The Goodness of God.

The psalm sets forth with exquisite beauty and tenderness the enduring goodness and mercy of God. It is a song of thanksgiving to God for his many benefits and blessings.

It was the custom in Scotland to sing the opening verses of this psalm as a song of thanksgiving and praise after the communicants had received the bread and wine of the Lord’s Supper. The people poured evangelical content into the words, thinking as they sang, of the great redemption through Jesus Christ: “who doth redeem thy life, etc.”

_MUSIC._ ST. PAUL. The origin of this tune is unknown. It appeared first in _A Collection of Twenty Church Tunes_, 1749, published by James Chalmers, c. 1700-64, Aberdeen, Scotland, who was printer to the Town Council and publisher of _The Aberdeen Journal_. Only one copy of this small book is known to survive.

597. I love the Lord, because my voice _Psalm CXVI_ _Scottish Psalter_, 1650

Psalm 116:1-7. Votive Song of the Worshipper.

A Song of Thanksgiving to God for favors received and an expression of triumphant faith in the Helper of the poor and needy.

_MUSIC._ ST. ANDREW. For comments on this tune see Hymn 578.

598. Unto the hills around do I lift up _Psalm CXXI_ _John Campbell_, 1845-1914

Psalm 121. The Guardian God.

A splendid picture of the fatherly goodness of God and His watchful Providence over His people.

The version is by John Campbell, Duke of Argyll, who married Princess Louise, the daughter of Queen Victoria. At one time he was the Governor-General of Canada and Commander-in-Chief of Prince Edward Island. He was keeper of the seal of Scotland. Though engaged in many and varied activities, he was an earnest Christian and found pleasure in the study of the Psalms and in making them available for use in Christian worship.

_MUSIC._ SANDON. For comments on this tune see Hymn 163.

599. I joyed when to the house of God _Psalm CXXII_ _Scottish Psalter_, 1650

Psalm 122. A Prayer for Jerusalem.

A song of the pilgrims who, having arrived at the gates of Jerusalem, are filled with admiration for the Holy City. They are moved at its beauty and strength, recall its past stories, and pray for its peace and welfare.

In the church of Scotland it has been the traditional practice to sing verses 3, 4, and 5 of this hymn immediately before the Benediction which closes the General Assembly. Sung to the stately tune of “St. Paul,” it leaves an indelible impression on the mind.

_MUSIC._ ST. PAUL. For comments on this tune see Hymn 596.

600. O Lord, Thou art my God and King _Psalm CXLV_ _Scottish Psalter_, 1650

Psalm 145:1-7. A Festal Anthem.

A praise song celebrating the greatness and goodness of God as manifested in all creation. The praise of God and of His marvelous works shall go on forever. The psalm has been called the _Te Deum_ of the Old Testament and this version is worthy of its original.

_MUSIC._ DUKE STREET. For comments on this tune see Hymn 341.

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