Metrical Psalms
575. That man hath perfect blessedness _Psalm I_
_Scottish Psalter_, 1650
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.
Note on the Scottish Psalter, 1650
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.
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.