Jesu, geh voran
Auf der Lebensbahn,
Und wir wollen nicht verweilen,
Dir getreulich nachzueilen.
Führ uns an der Hand
Bis ins Vaterland!
Soll’s uns hart ergehn,
Lass uns feste stehn
Und auch in den schwersten Tagen
Niemals über Lasten klagen;
Denn durch Trübsal hier
Geht der Weg zu dir.
Rühret eigner Schmerz
Irgend unser Herz,
Kümmert uns ein fremdes Leiden,
O so gib Geduld zu beiden;
Richte unsern Sinn
Auf das Ende hin!
Ordne unsern Gang,
Jesu, lebenslang!
Führst du uns durch rauhe Wege,
Gib uns auch die nöt’ge Pflege.
Tu uns nach dem Lauf
Deine Türe auf!
Entitled, “Following Christ.” The hymn has become a great favorite in Germany, especially as a children’s hymn. Stanzas 1, 3 and 4 are from Zinzendorf’s “Seelenbräutigam, O du Gotteslamm,” a poem of 11 stanzas, written September 1721. The second stanza is from “Glanz der Ewigkeit,” a 15-stanza poem, dated Berlin, May 1721.
Nicolaus Ludwig, Graf von Zinzendorf, was born at Dresden of a noble, wealthy and religious family. Early in life he came under the teaching of influential Pietists, having Philipp Spener for his godfather and Augustus Francke for his tutor. From his earliest years he had strong religious impressions. As a child his favorite play was “preaching;” as a boy in school he organized the “Order of the Mustard Seed,” the members of which bound themselves in a special manner to the service of Christ, and above all to promote the conversion of the heathen. Upon the insistence of non-pietistic relatives, he attended the University of Wittenberg to study law and to acquire such accomplishments as dancing, fencing, and shooting, but he himself would have preferred the study of theology.
At the age of 21, Zinzendorf bought an estate in Saxony with the view of gathering a number of truly religious persons into a community, which should be a source of new religious life. He invited a group of Moravian exiles, a religious body which sprang from the work of John Hus, to settle on the estate. Thus was formed, in 1722, the Moravian settlement which took the name Herrnhut, “Shelter of the Lord.” The colony grew rapidly and attracted to its numbers not only immigrants from Moravia but many others. In 1727 Zinzendorf gave up his post as an official at the Court of the King of Saxony, to join the Moravian colony and superintend the growing community. Accusing him of spreading false doctrines, his opponents secured an edict from the king, banishing Zinzendorf from Saxony. During this exile, which lasted 10 years, he was engaged in unceasing missionary efforts, from St. Petersburg to the West Indies.
In 1741, Zinzendorf came to America to visit the Moravians in Pennsylvania to organize them into congregations and encourage them to do missionary work among both whites and Indians. Under his leadership, the Moravians became a famous missionary group. As early as 1731, two of the Brethren were sent to the West Indies and two to Greenland. And in Zinzendorf’s lifetime Moravians were at work in Europe, Asia, Africa, North and South America. In a few years, the little colony at Herrnhut had sent out more missionaries than had gone from all European Protestantism during two centuries. They went to the hardest and most dangerous places and the most unpromising peoples. Everywhere they were strengthened by the joyful, confident faith and loyalty to Christ expressed in Zinzendorf’s hymn, “Jesu geh voran.”
The Moravians had a powerful influence on hymnology. Zinzendorf himself, all the members of his family, and most of the early leaders wrote hymns. Singing was a prominent part of their worship and they early began publishing hymnbooks. Concerning Zinzendorf’s hymns, Catherine Winkworth says in her Christian Singers of Germany:
His hymns, of which he wrote more than two thousand, are of exceedingly different value; some are fantastic and irreverent, some mere rhymed prose, others again have a real sweetness, fervour, and song in them.
She cites “Jesu geh voran” as one of his best hymns.
For comments on the translator, Jane Borthwick, see Hymn 54.
MUSIC. SEELENBRÄUTIGAM is a tune of a “pleasingly ingenious tinge, very simply constructed.” It is found in many English hymnbooks.
The composer, Adam Drese, 1620-1701, was born in Thuringia. He became director of music at the Court of Count Wilhelm IV of Saxe-Weimar; then was appointed kapellmeister in Weimar, and later at Arnstadt, living meanwhile a life of selfish indulgence in the atmosphere of the courts. Upon reading the works of Spener and Luther’s Introduction to the Epistle to the Romans, Drese experienced a spiritual awakening which led him to aggressive missionary efforts and the organization of prayer meetings in the community. He wrote hymns and tunes which were sung at the meetings of pious persons in his house, before they came into print.
The tune was first published in the Hallesches Gesangbuch, 1695, but it was used in manuscript form as early as 1690, in the composer’s home.
Psalm 1. The Tree and the Chaff.
The psalm embodies a fundamental teaching of the Old Testament, namely, that true happiness is to be found only in knowing and serving God.
MUSIC. DUNFERMLINE is a Scottish tune of unknown origin. The name is that of a town in Scotland. It appeared as one of the twelve “Common Tunes” (tunes not attached to any particular psalms) in The CL Psalms of David, &c., Edinburgh, 1615. In England the tune was included in Ravencroft’s Whole Book of Psalms, 1621.
The origin of the Scottish Psalter, 1650, which is the source of nearly all the metrical psalms in 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
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.
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.
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.
Known as the Ter Sanctus or Trisagion. It is an anonymous 2d century reproduction of a Jewish synagogue “Doxology,” based on Isaiah 6:3:
And one cried unto another, and said, Holy, holy, holy is the Lord of hosts: the whole earth is full of the glory of God.
It is intended to be sung at the beginning of a worship service.
MUSIC. SANCTUS. The composer of the tune, Alexander Samuel Cooper, was born in London in 1835. The date of his death is not known. He was an organist and composer of anthems, chants, and hymn tunes, and edited The Parochial Psalter and The Parochial Chant Book, both of which have passed through numerous editions.
For comments on the words see No. 601.
MUSIC. SANCTUS. No information has been found concerning W. A. C. Cruickshank, composer of the tune.
An “Opening Response” or “Invocation Sentence” widely used to introduce services of worship. The words are taken from Habakkuk 2:20.
QUAM DILECTA. For comments on George F. Root, the composer of this tune, see Hymn 418.
A response to be sung by choir or congregation or both after public prayer.
George Whelpton, 1847-1930, composer of the tune, was born at Redbourne, England, but came to America with his parents when he was a child of four years. He studied music under H. R. Palmer and with a private teacher in Boston. He became a well-known choir director in Buffalo and served as editor of various publications. He died suddenly at Oxford, Ohio.
A response suitable for use in connection with the reading of the Scriptures. The words are taken from Psalms 119:11, 12.
No biographical information regarding the composer, E. D. Beale, has been ascertained.
An ancient canticle which is used in the service to give a trinitarian form to Old Testament unitarianism.
The first part, “Glory to the Father, and to the Son, and to the Holy Ghost,” was used very early in the apostolic era of the church, as the common doxology. The second part, “As it was in the beginning, is now, and ever shall be, world without end,” was added by the Western Church during the second and third centuries when the Arian controversy raised the question as to whether the God of the Old Testament is the same as the God manifested in Christ in the New Testament. The answer, incorporated in the song, was an affirmative. It was always sung after the Psalms to give them a New Testament or Trinitarian ending. This is still the chief use of the Gloria Patri, though it is attached sometimes to some other part of the service. Concerning this point, Dr. Henry Sloan Coffin says: “In view of the origin of the Gloria Patri and its long historical association with the Psalms, it is vandalism to tear it from its proper context, and attach it to something else in the service.” (The Public Worship of God, Westminster Press, p. 101).
MUSIC. For comments on Henry Greatorex see Hymn 230.
For comments on the words see No. 606.
MUSIC. The tune was composed by Charles Meineke, 1782-1850, a German pianist and organist who came to America in 1810. For a time he was organist at St. Paul’s Church, Baltimore.