_THE TUNE._

The 18th century tune of "Weimar" (_Evangelical Hymnal_), by Emanuel Bach, suits the spiritual tone of the hymn, and suggests the Gregorian dignity of its origin.

Karl Philip Emanuel Bach, called "the Berlin Bach" to distinguish him from his father, the great Sebastian Bach of Saxe Weimar, was born in Weimar, March 14, 1714. He early devoted himself to music, and coming to Berlin when twenty-four years old was appointed Chamber musician (Kammer Musicus) in the Royal Chapel, where he often accompanied Frederick the Great (who was an accomplished flutist) on the harpsichord. His most numerous compositions were piano music but he wrote a celebrated "Sanctus," and two oratorios, besides a number of chorals, of which "Weimar" is one. He died in Hamburg, Dec. 14, 1788.

THE MAGNIFICAT.

[Greek: Megalunei he psuche mou ton Kurion.]

Magnificat anima mea Dominum, Et exultavit Spiritus meus in Deo salutari meo.

Luke 1:46-55.

We can date with some certainty the hymn itself composed by the Virgin Mary, but when it first became a song of the Christian Church no one can tell. Its thanksgiving may have found tone among the earliest martyrs, who, as Pliny tells us, sang hymns in their secret worship. We can only trace it back to the oldest chant music, when it was doubtless sung by both the Eastern and Western Churches. In the rude liturgies of the 4th and 5th centuries it must have begun to a.s.sume ritual form; but it remained for the more modern school of composers hundreds of years later to ill.u.s.trate the "Magnificat" with the melody of art and genius.

Superseding the primitive unisonous plain-song, the old parallel concords, and the simple faburden (faux bourdon) counterpoint that succeeded Gregory, they taught how musical tones can better a.s.sist worship with the beauty of harmony and the precision of scientific taste. Musicians in Italy, France, Germany and England have contributed their scores to this inspired hymn. Some of them still have place in the hymnals, a n.o.ble one especially by the blind English tone-master, Henry Smart, author of the oratorio of "Jacob." None, however, have equaled the work of Handel. His "Magnificat" was one of his favorite productions, and he borrowed strains from it in several of his later and lesser productions.

George Frederic Handel, author of the immortal "Messiah," was born at Halle, Saxony, in 1685, and died in London in 1759. The musical bent of his genius was apparent almost from his infancy. At the age of eighteen he was earning his living with his violin, and writing his first opera.

After a sojourn in Italy, he settled in Hanover as Chapel Master to the Elector, who afterwards became the English king, George I. The friendship of the king and several of his n.o.blemen drew him to England, where he spent forty-seven years and composed his greatest works.

He wrote three hymn-tunes (it is said at the request of a converted actress), "Canons," "Fitzwilliam," and "Gopsall," the first an invitation, "Sinners, Obey the Gospel Word," the second a meditation, "O Love Divine, How Sweet Thou Art," and the third a resurrection song to Welsey's words "Rejoice, the Lord is King." This last still survives in some hymnals.

THE DOXOLOGIES.

Be Thou, O G.o.d, exalted high, And as Thy glory fills the sky So let it be on earth displayed Till Thou art here as there obeyed.

This sublime quatrain, attributed to Nahum Tate, like the Lord's Prayer, is suited to all occasions, to all Christian denominations, and to all places and conditions of men. It has been translated into all civilized languages, and has been rising to heaven for many generations from congregations round the globe wherever the faith of Christendom has built its altars. This doxology is the first stanza of a sixteen line hymn (possibly longer originally), the rest of which is forgotten.

Nahum Tate was born in Dublin, in 1652, and educated there at Trinity College. He was appointed poet-laureate by King William III. in 1690, and it was in conjunction with Dr. Nicholas Brady that he executed his "New" metrical version of the Psalms. The entire Psalter, with an appendix of Hymns, was licensed by William and Mary and published in 1703. The _hymns_ in the volume are all by Tate. He died in London, Aug.

12, 1717.

Rev. Nicholas Brady, D.D., was an Irishman, son of an officer in the royal army, and was born at Bandon, County of Cork, Oct. 28, 1659. He studied in the Westminster School at Oxford, but afterwards entered Trinity College, Dublin, where he graduated in 1685. William made him Queen Mary's Chaplain. He died May 20, 1726.

The other nearly contemporary form of doxology is in common use, but though elevated and devotional in spirit, it cannot be universal, owing to its credal line being objectionable to non-Trinitarian Protestants:

Praise G.o.d from whom all blessings flow, Praise Him all creatures here below, Praise Him above, ye heavenly host, Praise Father, Son and Holy Ghost.

The author, the Rev. Thomas Ken, was born in Berkhampstead, Hertfordshire, Eng., July, 1637, and was educated at Winchester School, Hertford College, and New College, Oxford. In 1662 he took holy orders, and seventeen years later the king (Charles II.) appointed him chaplain to his sister Mary, Princess of Orange. Later the king, just before his death, made him Bishop of Bath and Wells.

Like John the Baptist, and Bourdaloue, and Knox, he was a faithful spiritual monitor and adviser during all his days at court. "I must go in and hear Ken tell me my faults," the king used to say at chapel time.

The "good little man" (as he called the bishop) never lost the favor of the dissipated monarch. As Macaulay says, "Of all the prelates, he liked Ken the best."

Under James, the Papist, Ken was a loyal subject, though once arrested as one of the "seven bishops" for his opposition to the king's religion, and he kept his oath of allegiance so firmly that it cost him his place.

William III. deprived him of his bishopric, and he retired in poverty to a home kindly offered him by Lord Viscount Weymouth in Longleat, near Frome, in Somersetshire, where he spent a serene and beloved old age. He died aet. seventy-four, March 17, 1711 (N.S.), and was carried to his grave, according to his request, by "six of the poorest men in the parish."

His great doxology is the refrain or final stanza of each of his three long hymns, "Morning," "Evening" and "Midnight," printed in a _Prayer Manual_ for the use of the students of Winchester College. The "Evening Hymn" drew scenic inspiration, it is told, from the lovely view in Horningsham Park at "Heaven's Gate Hill," while walking to and from church.

Another four-line doxology, adopted probably from Dr. Hatfield (1807-1883), is almost entirely superseded by Ken's stanza, being of even more p.r.o.nounced credal character.

To G.o.d the Father, G.o.d the Son, And G.o.d the Spirit, Three in One.

Be honor, praise and glory given By all on earth and all in heaven.

The _Methodist Hymnal_ prints a collection of ten doxologies, two by Watts, one by Charles Wesley, one by John Wesley, one by William Goode, one by Edwin F. Hatfield, one attributed to "Tate and Brady," one by Robert Hawkes, and the one by Ken above noted. These are all technically and intentionally doxologies. To give a history of doxologies in the general sense of the word would carry one through every Christian age and language and end with a concordance of the Book of Psalms.

[Ill.u.s.tration: Oliver Holden]

_THE TUNE._

Few would think of any music more appropriate to a standard doxology than "Old Hundred." This grand Gregorian harmony has been claimed to be Luther's production, while some have believed that Louis Bourgeois, editor of the French _Genevan Psalter_, composed the tune, but the weight of evidence seems to indicate that it was the work of Guillaume le Franc, (William Franck or William the Frenchman,) of Rouen, in France, who founded a music school in Geneva, 1541. He was Chapel Master there, but removed to Lausanne, where he played in the Catholic choir and wrote the tunes for an Edition of Marot's and Beza's Psalms. Died in Lausanne, 1570.

"THE LORD DESCENDED FROM ABOVE."

A flash of genuine inspiration was vouchsafed to Thomas Sternhold when engaged with Rev. John Hopkins in versifying the Eighteenth Psalm. The ridicule heaped upon Sternhold and Hopkins's psalmbook has always stopped, and sobered into admiration and even reverence at the two stanzas beginning with this leading line--

The Lord descended from above And bowed the heavens most high, And underneath His feet He cast The darkness of the sky.

On cherub and on cherubim Full royally He rode, And on the wings of mighty winds Came flying all abroad.

Thomas Sternhold was born in Gloucestershire, Eng. He was Groom of the Robes to Henry VIII, and Edward VI., but is only remembered for his _Psalter_ published in 1562, thirteen years after his death in 1549.

_THE TUNE._

"Nottingham" (now sometimes ent.i.tled "St. Magnus") is a fairly good echo of the grand verses, a dignified but spirited choral in A flat. Jeremiah Clark, the composer, was born in London, 1670. Educated at the Chapel Royal, he became organist of Winchester College and finally to St.

Paul's Cathedral where he was appointed Gentleman of the Chapel. He died July, 1707.

The tune of "Majesty" by William Billings will be noticed in a later chapter.

TALLIS' EVENING HYMN.

Glory to Thee, my G.o.d, this night For all the blessings of the light, Keep me, O keep me, King of kings, Under Thine own Almighty wings.

This stanza begins the second of Bp. Ken's three beautiful hymn-prayers in his _Manual_ mentioned on a previous page.

_THE TUNE._

For more than three hundred and fifty years devout people have enjoyed that melody of mingled dignity and sweetness known as "Tallis' Evening Hymn."

Thomas Tallis was an Englishman, born about 1520, and at an early age was a boy chorister at St. Paul's. After his voice changed, he played the organ at Waltham Abbey, and some time later was chosen organist royal to Queen Elizabeth. His pecuniary returns for his talent did not make him rich, though he bore the t.i.tle after 1542 of Gentleman of the Chapel Royal, for his stipend was sevenpence a day. Some gain may possibly have come to him, however, from his publication, late in life, under the queen's special patent, of a collection of hymns and tunes.

He wrote much and was the real founder of the English Church school of composers, but though St. Paul's was at one time well supplied with his motets and anthems, it is impossible now to give a list of Tallis'

compositions for the Church. His music was written originally to Latin words, but when, after the Reformation, the use of vernacular hymns, was introduced he probably adapted his scores to either language.

It is inferred that he was in attendance on Queen Elizabeth at her palace in Greenwich when he died, for he was buried in the old parish church there in November, 1585. The rustic rhymer who indited his epitaph evidently did the best he could to embalm the virtues of the great musician as a man, a citizen, and a husband:

Enterred here doth ly a worthy wyght, Who for long time in musick bore the bell: His name to shew was Thomas Tallis hyght; In honest vertuous lyff he dyd excell.