transcribed from copies in St Deiniol's Library, Hawarden.
Square brackets [ ] indicate editorial remarks for this Enchiridion.
CHURCH PSALTER AND HYMN BOOK
COMPRISING
THE PSALTER, OR PSALMS OF DAVID,
TOGETHER WITH THE CANTICLES,
POINTED FOR CHANTING;
510 METRICAL HYMNS, FIVE SANTUSES, AND EIGHT RESPONSES
TO THE COMMANDMENTS:
THE WHOLE
UNITED TO APPROPRIATE CHANTS AND TUNES,
FOR THE USE OF
CONGREGATIONS AND FAMILIES.
BY THE
REV. WILLIAM MERCER, M.A.,
INCUMBENT OF ST GEORGE'S SHEFFIELD.
ALL THE HARMONIES HAVE BEEN REVISED BY
JOHN GOSS, ESQ.,
COMPOSER TO HER MAJESTY'S CHAPEL ROYAL, AND ORGANIST OF ST.PAUL'S CATHEDRAL,
LONDON.
Dedicated, by Express Permission, to
HIS ROYAL HIGHNESS THE PRINCE CONSORT,
TO THE MOST REVEREND THE LORD ARCHBISHOPS OF CANTERBURY AND YORK, AND TO THE
RIGHT REVEREND THE LORD BISHOPS OF LONDON, DURHAM, WINCHESTER, PETERBOROUGH,
ST.DAVID'S, CHICHESTER, LICHFIELD, ELY, ST.ASAPH, MANCHESTER, HEREFORD,
NORWICH, LLANDAFF, BATH AND WELLS, CARLISLE, AND RIPON.
LONDON:
JAMES NISBET AND CO., 21, BERNERS STREET;
CRAMER, BEALE AND CHAPPELL, 201, REGENT STREET.
1860
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(the original 1854 edn contained 400 hymns)
It will be unnecessary for the Compiler of the present volume to occupy any time in enforcing the duty of congregational psalmody. The Church of England does not content herself with simply recognizing it, but she requires it of her members; and even those who do not worship within her pale have of late years not only abjured former antipathies and prejudices, but, by their activity in organizing numerous associations for its promotion, have set the Church herself an example which she would do well to follow. He will at once then proceed to give a brief explanation of the general object and character of his work.
Its object is to supply congregations, and also families, with a complete manual of all that they are able or may be expected to sing in their collective capacity. It comprises the Prose Psalter, pointed for chanting, with appropriate Chants, 400 Metrical Hymns, with appropriate tunes, six Responses, arranged for different periods of the year, one Sanctus and two Doxologies. What are called the Metrical Psalms have not a distinct position assigned them, but are incorporated with the Metrical Hymns, for, strictly speaking, that is their proper designation. Certainly, in their present fragmentary and mutilated state, they have no claim to be called "the Psalms of David:" yet, as Metrical Hymns, many of them are admirable and well fitted for choral purposes. At the same time the number of the Psalm from which each is taken is placed alongside the number of the Hymn. The music, it will be seen, both in the prose Psalter and in the Hymn Book, appears invariably in company with the words, agreeably to the universal usage in our own country in the period succeeding* the Reformation, and in modern Germany. The advantages of this arrangement are obvious and manifold. The Clergy are spared the weekly trouble of selecting the tunes: the choice of music inappropriate to the words is avoided: a due variety of chants and tunes is secured: the people know the music they will have to sing, and by practising it at home can become thoroughly familiarized with it; and above all, the melody becomes associated and intertwined in the people's minds with the Psalm or Hymn. The benefit of this last result is incalculable. No sooner is the Hymn given out than the tune starts at the same moment to the memory, and conversely. The tune suggests the Hymn; the Hymn calls to memory the tune. If it is urged, the poor can make no use of the music; it may be replied, this objection is fast receding before the widely extended range of educational appliances. The elements of music now form an integral portion of instruction in our national schools, and not a few indulge the sanguine hope that a few years will see the poor of this country as able to take the same intelligent part in "the common tune" as the poor of Germany. To say the least, the non-musical section of a congregation, if not gainers, yet assuredly will not be losers by the arrangement. They will still have the words, as they had before; whilst, on the other hand, that section which have some knowledge of music, will have their position improved; they will have the music as well as the words. The whole of the music is printed in what is called short or compressed score, a mode of arrangement universal in Germany, and rapidly becoming so in England. Short score means the harmony of the four parts or voices (treble, alto, tenor, and bass), written in two instead of four staves. In the upper staff, the treble occupies the higher range, with the stems of the notes upwards, and the alto or second treble the lower range, with the stems downwards. On the lower staff (with the bass cleff), the tenor occupies the upper, and the bass the lower range, with the stems upwards and downwards respectively. The advantages of this mode of printing chant and psalm music are so numerous and obvious, as to need neither enumeration nor explanation.
The system of punctuation adopted is that commonly used in our Cathedrals. Great care has been taken to attain the proper coincidence of the musical and rhetorical accent, so as not to sacrifice the one to the other.* The Chants chosen are the best of those in ordinary use in our Cathedrals. Most of them are already well-known in our parochial Churches, and consequently will not have to be learnt for the first time. In selecting them, special attantion has been paid, first, to the practicability of the reciting note: secondly, to simplicity and ecclesiastical character. It will be seen, moreover, that transitions in the same Chant, from the major to the minor key, and vice versa, have been avoided. When a change in the character of the Psalm required it, another Chant has been introduced.
These are 400 in number. [ * see Second Preface ] Some may possibly deem this number beyond the requirements of a congregation. It should, however, be borne in mind that it includes many of the Metrical Psalms: not a few, again are required for occasional use, whilst others have become so enshrined in popular sympathies and affections, that to omit them in any collection would be fatal to its success, however high the authority which endorsed it. In making this selection, the Compiler has most carefully consulted integrity of doctrinal teaching, correctness of rhythm, strength and propriety of phrase and sentiment, comprehensiveness of subject, and the general exigencies of public worship; with what success must be left to the decision of others. All bald and meaningless Hymns have been rigidly excluded. The metres of three or four of the Hymns may sound unusual to English ears; but they could not be omitted or altered, save by the sacrifice or mutilation of some of the finest of the German Chorales. Two of these, Hymn 122 and Hymn 381, were composed expressly for the original metres, by the late James Montgomery, Esq., who, for some years before his death, statedly attended the Compiler's Church. It may be added that the present collection was favoured with his most careful examination, and he was pleased to speak in the kindest terms of it.
For the selection and arrangement of these the Compiler alone is responsible. They are taken from the best repertories of Psalmody, both English and foreign, and consist chiefly of the stately melodies of our own Church, and of the finest Chorales of Germany. He has not felt himself at liberty to reject the least objectionable of the tunes in triple measure, such as Rockingham, Irish, Abridge, &c. They are good in their particular style, though that style may not be pronounced the best; but all tunes of a florid structure and of secular associations are allowed no admission here. The tunes selected are suitable, easy, and methodical in their phrases, symmetrical in their proportions, and, for the most part, syllabic in their partition. Such, doubtless, are the tunes best adapted for the ready, distinct, and simultaneous utterance of the congregational voice. A considerable number of them have already acquired great traditional renown, and an established position in the public favour; and the rest, when once mastered, will be equally appreciated. Some of them, on their first enunciation, may be thought dull and lifeless, and the Clergyman may feel a little hesitation in introducing them, lest he should seem to run counter to his people's predilections. For these the Compiler craves a patient hearing; and for the encouragement of others he begs to record the result of his own experience. This he does with the confident assurance that many of his brethren can re-echo his statement as the result of their own. The flippant, complex, and operatic* tunes which, alas! still prevail in too many of our Churches, once prevailed in his own. Some of them were quite impracticable to all but trained ears, by their high pitch, broken rhythm, and interminable appogiaturas. Consequently the singing of the Congregation was partial, irregular, fitful, and impulsive. They sung out only when in the humour, and not unfrequently the people in one part of the Church were a full bar behind those in another. The Compiler sought to remedy the evil by gently and unobtrusively substituting the noble melodies which were composed when psalmody was best understood and most extensively practised. At first they were pronounced heavy and unattractive, and so would the Old Hundredth be pronounced by many modern congregations, if introduced for the first time. He persevered, notwithstanding, quietly yet firmly. Shortly, prejudices began to recede. The people gradually got hold of the tunes; the poor could sing them, and they are now sung with a vigour of voice and purpose which is most refreshing, whilst those who were loudest in their condemnation have become loudest in their praise. It is indeed quite exhilarating to mark the revolution which the public mind is undergoing in their favour. The spurious, crude, irreverent, inartistic productions which have so long occupied the room of their elder brethren, the rightful heirs to the people's confidence and attachment, are rapidly losing the position which they have so unjustly usurped, and probably within twenty years we shall have to celebrate their entire extrusion from the sanctuary. Possibly the number of tunes in this collection (160), may be thought too great, yet it is considerably below that in constant use in Germany and amongst many dissenting congregations in our own country. It could not have been reduced without banishing much that was really excellent. It will be found, moreover, upon trial, that the capabilities of a congregation in this department of the service are almost unlimited, when once they have caught the true style; and I may be pardoned if I venture to observe, that those of my brethren who restrict the psalmody of their Churches to a very limited number of chants and tunes, from the fear of their people being unequal to a larger number, are in unwitting error upon this point. It is proved by experience that the periodical recurrence of the same tune, however good, at very brief intervals, is obstructive of congregational singing. The tune, in process of time, loses its freshness, and palls upon the ear, and the people become weary of the perpetual repetition. A compiler of psalm-tunes is bound to provide a sufficiency, not for a short time, but for all time.
These have been adopted from the most trustworthy and unimpeachable sources. A few others, as in Eisenach, Halle, &c., which have been simplified from Sebastian Bach, may appear at the first sight difficult; but the difficulty is only in appearance, as the motion of the parts is natural and easy. That there may be no apprehension on the score of accuracy, the Compiler has pleasure in adding that the whole of the Harmonies throughout the entire work have been rigidly revised, and, whenever necessary, corrected and rearranged by John Goss, Esq., Organist of St Paul's, London. The task could not have been confided to safer or abler hands, and the skill and care which Mr Goss has brought to it merit my warmest commendation. And it is encouraging to me in my labours for the promotion of a good object, that Mr Goss authorizes me to add, that the selection itself of Tunes and Chants has his entire approbation. My best thanks are also due to the Rev.W.H.Havergal, Rector of St Nicholas and Canon of Worcester, for placing at my unfettered disposal the harmonies in his invaluable work, Old Church Psalmody: a reference to the Index of Tunes will show that I have not been sparing in my use of so generous a permission. I have also great pleasure in acknowledging my obligations to the compiler of the Congregational Church Music [see note], and to the editor of The Standard Tune Book, for so kindly permitting me to use the arrangements which I requested of them; and to my able organist, Mr Phillips, whose skill on his instrument is only equalled by his exact taste, for his kindness in rendering me assistance, whenever required.
This is constructed upon the presumption that all the tunes have been mastered. Where this is not the case the Clergyman can easily draw up a separate index for himself, and use it till the complete index can be brought into full requisition. The peculiar advantage of a tabular index of this kind is, that the Hymns, like the lessons for each Sunday, are known beforehand, and the people, by private or by public practice during the week, can prepare themselves to take their part upon the Sunday.
The Compiler is anxious to offer his work at the very lowest price, consistently with immunity to himself from personal risk. If he be indemnified for actual outlay, he will be satisfied: remuneration he desires not, but that arising from the consciousness of having contributed in some humble degree to the right discharge of a great and glorious duty. The work is stereotyped, and the whole of the plates cast from entirely new type; consequently there need be no fear of the supply being exhausted. The Psalter and Hymn Book can be had separately at proprtionately reduced prices.
It is not in the spirit of dictation, but with the utmost deference, that the Compiler would venture to offer the following suggestions to those of his brethren who may be disposed to introduce his volume into their Churches. 1. Let the tunes which are well known, and of these there is a considerable number, first be selected and adhered to. By this means deeply rooted predilections would not receive too vehement a shock, a taste for a pure style of psalmody would be formed, and this would pave the way for the use of all the rest. 2. As the service of the domestic altar, to be complete, should have the family Hymn, as well as the family lesson and the family prayer, the heads of families may be encouraged to use at morning and evening prayer, during the week, the Hymns and Tunes which are appointed in the Tabular Index for the following Sunday. The children and servants of the household will thus become familiarized to good Psalm-tunes, and be qualified to sing them with precision, earnestness, and spirit. Domestic psalmody will ever be found to be the best preparation for congregational psalmody. 3. The same plan may be adopted in the national schools. The tunes which are apointed for the ensuing Sabbath can be used at the opening and close of the school each day: and to this may be superadded a practice of the whole school for one hour at least every week, when the melodies can be taught by the teacher from the black board. The true syllabic psalm-tune is the only one children can sing with correctness, and they catch it with remarkable familiarity. 4. If practicable, let the congregation be invited and urged to assemble every week for practice. This method is now extensively adopted by many congregations, both in and out of the Church, and with the happiest effects. These recommendations, systematically and energetically carried out, would soon, the Compiler believes, raise the psalmody of our Church to the high and palmy condition of its most flourishing period.
I now commit the book to the blessing of God and the kind consideration of the Church, and I commit it in the degree that it is likely to subserve the glory of the one and the benefit of the other. I deeply lament the prostrate condition of our psalmody. In some of our Churches the chant or tune is never heard; in others it is confined to the clerk or choir; from others Metrical Hymns are violently ejected; whilst again, in others where they are welcomed as an important auxiliary to congregational praise, they are too often allied to a class of melodies which never can permanently carry the sympathies of the people, or effectually draw out the choral powers of a congregation. This comparative neglect of such an important arm of divine service is a source of unspeakable weakness to the Church amongst the masses. "The common tune," well and adequately rendered, is relished by the educated as well as the uneducated ear: but to the poor it is essential, and no form of worship will ever be attractive without it.
If they find no vent for their feelings in a channel like this within the Church, they will wander in search for it without. Everywhere we hear the complaint that the poor do not appear in any large number at our Churches, and especially in our large towns. Cannot one reason for this be found in the torpor which too often pervades her services? The rich do not sing, the poor dare not, whilst those who resolutely make the effort soon find their voices grow tremulous from being solitary in the work of praise. The plain, practical truth is, the poor have neither the time, ability, nor inclination to examine the numerous and elaborate treatises which have been written to vindicate the Church's claims to their homage and affection; but an earnest, impressive, and devotional worship they can understand; it is an argument which lies quite within their comprehension and feeling. Let the services of the Church be as distinguished by their warmth and vitality as they are by their majesty; let everyone lift up his voice in the congregational song and response, and not be afraid; and this, united with the other influences of faithful teaching from the pulpit and diligent visitation in the parish, will, with God's blessing, do more to recover and attach the alienated masses of our population to her courts, than a thousand arguments which appeal merely to the understanding or to hereditary prepossessions. It is gratifying to mark the recent efforts for the promotion of pure psalmody; and I hope yet to hear the "common tune" resounding through the lofy aisles of the Cathedral,* uplifted by the worshippers of our parochial Churches** with the grand and consonous unity of former days, and animating the service of every family altar.*** Above all do I earnestly pray that God may pour the ®spirit¯ of praise upon our congregations in its richest affluence. This alone, like the incense to the fire of the altar, communicates the sacred odour and distinguishes it from the common element; this alone qualifies for the psalmody of the Church triumphant; and this alone makes the psalmody of earth, however sweet the confluence of sounds, rise an acceptable offering to God. "Praise is comely FOR THE UPRIGHT."
WILLIAM MERCER
* Cosin, Bishop of Durham, says, "he never forbade singing the metre psalms in the Cathedral, but used to sing them himself with the people at morning prayer." Master Thomas Mace's statement respecting the super-excellency of the style in which psalms were sung by the immense congregations in York Minster, in 1644, is well known. The fact is also evident from the title of Ravenscroft's volume, from Clifford's collection of works "usually sung in all Cathedrals and Collegiate Choirs," (1664.)
** "Immediately," says Bishop Jewell, in a letter to Peter Martyr, 1560, "not only the Churches in the neighbourhood, but in the towns far distant, began to vie with each other in the same practice. You may now sometimes see at St. Paul's Cross, after the service, 6000 people, old and young, of both sexes, all singing together and praising God." "Three or four thousand singing at a time in a Church of this city is but a trifle," says Roger Ascham, in a letter from Augsburg, dated 14th May, 1551.
*** Hawkins, in his history, mentions that "the time is hardly beyond the reach of some persons living when psalmody was considered a delightful exercise," and that "a passenger on a Sunday evening, from St. Paul's to Aldgate, would have heard the families in most houses in his way occupied in singing psalms."
It has been suggested to me by individuals whose opinion I felt to be entitled to all deference, that in the previous edition of this Hymn-Book some of the Church's seasons, and especially that of Lent, were but inadequately represented, whilst some of its occasional offices were altogether unprovided for. The suggestion was accompanied by a kind intimation, that the addition of 100 hymns would make the book complete, and all that they could desire.
In the suggestion itself I entirely concurred; and no opportunity for carrying it out seemed so suitable as the present, when a considerable number of congregations were waiting for a new edition in order to be supplied.
The present Editions contain 106 additional hymns. In selecting these, I have carefully examined every known source which appeared to me worth the trouble, and especially the Protestant Hymnology of Germany, rich beyond description in the number, variety, and value of its stores. A large proportion of the new Hymns consists of its choicest gems. Of these, not a few are from the pen of earlier translators; for the remainder I am chiefly indebted to the kindness of living translators.
In acknowledging the services of the latter, I have to thank very sincerely Miss Coxe, of Oxford ... ; the Rev.E.Jackson, Incumbent of St. James', Leeds ... ; and the Rev. H.G.Bunsen, Wicar of Lilleshall ... . Upon the kindness of R.Massie, Esq., of Pulford Hall, Wrexham, I have drawn very largely. Not only has he allowed me to enrich my collection with some of the finest hymns of Luther, from his "Spiritual Songs of Luther," but he has translated a large number of other German Hymns expressly for this work. The former are ... : the latter, ... [ hymn numbers specified in each case ].
Sone of the German Hymns may be considered of too great length for English congregations. This incovenience has been obviated by dividing them, when necessary, into two or more parts.
One of the ablest judges of the day, in a communication with which has has favoured me, says, "I think it is a great pity to leave out verses of Hymns, if it can by any means be avoided. Every clergyman can choose as many verses as he likes. The one likes this; the other, that. Again, in altering words I think that great care should be taken. The way hitherto has been to cut, eliminate, alter, change, - and thus wholly destroy the Hymn as it came forth out of the mind of the author." In this view I perfectly concur, and accordingly, in the present edition, I have bestowed the greatest pains in revising the text, and, when necesary or desirable, restoring it to its original integrity. This has occasioned the transfer of a few Hymns, and amongst others, of Hymn 266 (see Hymn 487) [ Come, let us join our friends above ] and Hymn 230 (see Hymn 65) [ Jesu, thy boundless love to me ], one of the finest of Paul Gerhardt's.
The Psalter, as well as the Hymn-Book, has undergone a thorough revision, and at the instance of some friends, has been furnished with additional marks, so as to remove every difficulty that may possibly arise in its musical interpretation.
Both editions, small and large, exactly correspond. The additional music which I have felt it necessary to select, has, of course, been submitted to the revision of Mr Goss.
Some of my brethren have expressed a doubt whether the music can be of any use to the poorer members of their flocks. Experience may, perhaps, be allowed to decide the point. In the Churches where the work is already introduced, so far as I have been given to understand, the poor are as partial to the music as to the Hymns; and even assuming that many of the present generation of adult poor can benefit but little by it, yet their children will. By being familiarized from their infancy, in the Church and in the school, to the sight of a given number of notes, they will gradually acquire the use of them, and so be enabled to take a more intelligent part in the choral praises of the congregation. To this may be added, that the low price at which the small edition is offered, will place it within the reach of the humblest means.*
The testimonies I have received, from time to time, from those of my brethren who have adopted the book into their Churches, as to the improvement already effected in their congregational singing, have been peculiarly gratifying.
I am glad to be able to say that, in selecting the Hymns I have sought to lay aside every party or personal predilection. Whenever I found a really good Hymn - a Hymn in harmony with the traching of Scripture and of the Church, calculated to aid public or private devotion, to promote the honour and glory of Christ and the good of His people, - whatever might be its source, ancient, mediaeval, or modern, I thankfully adopted it. I would add that, however gratifying it might be to me personally to witness the extensive adoption of this work, on which I have spent so large an amount of time and labour, yet I hope and desire it only in the proportion it is likely to serve the great ends to which I have alluded.
WILLIAM MERCER.
The present Editions contain a few alterations, which have been made at the special instance of some earnest well-wishers to the work. I felt, moreover, that its recent introduction into St Paul's Cathedral, at the Special Evening Services, laid me under an additional obligation to render the book as perfect as human care could make it.
One Hymn (87) has been transferred, and one (100) eliminated: two Hymns (15 and 411) [ How bright appears the morning-star; Wisdom's highest, holiest treasure ] have been partially recast, and three added at the end: these are the principal alterations in the text of the Hymn Book.
The whole of the music, with the exception of two tunes (Coburg or Christmas Hymn, and Gotha) composed by H.R.H. the Prince Consort, and inserted by his gracious permission, has undergone another and most anxious revision by Mr Goss. The harmonies may now safely be pronounced to be no longer susceptible of improvement.
Some valuable suggestions kindly tendered by the Dean of St Paul's, I have gladly adopted.
To quiet unneccesary alarm, I ought to add that the alterations, whilst they greatly promote the general serviceableness of the work, will interfere only in a very slight degree with the use of Editions already in circulation. And to obviate as far as possible any little inconvenience that may occur, printed copies of the alterations will, on application, be furnished gratuitously to the Clergy of those Churches which have already adopted the work.
I can only add, that, as it was with great reluctance I admitted the necessity of a revision, so it is with a fixed resolution that this shall be final. Having now laboured conscientiously and without fear of man to do my best for the work, I once more commend it to God's good blessing, and the Church's kind consideration.
WILLIAM MERCER
[ Notwithstanding Wm Mercer's final paragraph, the entire work was re- arranged in 1864, with additional hymns to a total of 591 (+ doxologies) ]
A summary Preface appeared in a later edition (Preface dated 1861; copy seen dated 1863) -
The object of the CHURCH PSALTER AND HYMN BOOK is to supply Congregations and Families with a complete manual of all they are expected to sing in their collective capacity. It comprises,
I. The CANTICLES, pointed for chanting, with a large variety of double and single Chants, the Athanasian Creed, six Sanctuses, nine Responses, and several Doxologies.
II. The PSALTER, also pointed for chanting, with an ample selection of Chants. Options both of double and of single Chants are given for each Morning and Evening.
III. Five hundred and ten HYMNS, drawn from sources ancient, mediaeval, and modern, and including several of the finest of Germany.
IV. One hundred and seventy-seven Metrical TUNES, drawn from the best repertories, both English and Foreign. For the selection and arrangement of these, as well as of the Hymns and Chants, the Compiler is wholly responsible: but all the harmonies, which have been selected from the most unimpeachable sources, have undergone the able and anxious revision of J.Goss, Esq., Organist of St. Paul's, London, and Composer of Her Majesty's Chapels Royal, and are now pronounced by the ablest judges no longer susceptible of improvement.
V. The DAILY SERVICE, compiled expressly for the use of Cathedrals, several of which have adopted the work. It comprises Morning and Evening Prayer, the Litany and Holy Communion, with Archbishop Cranmer's amd Marbeck's Plain Chant: two settings of the "Gloria in Excelsis" and two of the Nicene Creed, by Marbeck and by Goss. The whole of the portion called the "Canticles" is incorporated.
VI. The EPISTLES and GOSPELS, and most of the Offices.
The whole may be had entire or in various combinations.
The Hymns are also published without the music in two forms.
The work is in full and regular use in Her Majesty's Private Chapels, and several of the principal Cathedrals; in most of the training Colleges, and many of the leading schools; in several Colonial Dioceses and English Chapels on the Continent, and in a vast number of Churches in England, Ireland, and Wales.
For fuller information see the Prefaces to the Quarto and Octavo editions.
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