William Lawes
(1602 – 45)
12 Psalms ‘to comon tunes’
(STTB-bc)
Edited by Paul Gameson
in association with
William Lawes
(1602 – 45)
12 Psalms ‘to comon tunes’
Edited by Paul Gameson
Introduction
ii
Performance
xii
Critical Commentary
xvi
12 Psalms ‘to comon tunes’
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
Psalm 6: Lord in thy wrath reprove me not
Psalm 18: O God, my strength and fortitude
Psalm 22, part 1: O God my God
Psalm 22, part 2: O Lord depart not now from me
Psalm 22, part 3: All ye that fear him praise the Lord
Psalm 51, part 1: O Lord, consider my distress
Psalm 51, part 2: Cast me not Lord out from thy face
Psalm 67: Have mercy on us Lord
Psalm 100: All people that on earth do dwell
The Lamentation: O Lord in thee is all my trust
The Humble Suite of a Sinner: O Lord on whom I do depend
The Lamentation of a Sinner: O Lord, turn not away thy face
(TTB-bc)
(TTB-bc)
(TT-bc)
(TTB-bc)
(TTB-bc)
(T-bc)
(TTB-bc)
(T-bc)
(TT-bc)
(TB-bc)
(TTB-bc)
(STTB-bc)
1
5
10
14
20
26
30
36
39
42
47
54
York Early Music Press
In association with Department of Music, University of York, Heslington Foundation and York Early
Music Foundation.
at
Department of Music,
University of York
York
YO10 5DD
UK
Email: [email protected]
www.YorkEarlyMusicPress.com
Phone: +44 (0)1904 434692
October 2002
ii
Introduction
The Composer
William Lawes was born in Salisbury in 1602, and his father was a lay vicar at the cathedral there.
He benefited from the patronage of local benefactor Edward Seymour, Earl of Hertford, and became
1
a pupil of Coprario’s. Little is known of the private lives of William or his brother Henry during the
1620s and early 1630s; by 1634 however, the brothers had established themselves at the court of
Charles I, when they both contributed music to James Shirley’s masque The Triumph of Peace.
While William's theatre and instrumental output continued, he also wrote sacred music for the
Chapel Royal, including the verse anthems The Lord is my light and my salvation and Let God arise.
There is no biographical information available from the outbreak of hostilities in August 1642 until
Lawes’ death at the Battle of Rowton Moor near Chester in September 1645, when Lawes joined a
doomed sortie and was killed:
In these distracted times his loyalty engaged him in the war for his lord and master; and though he was
by General Gerard made a commissary, on design to secure him… yet such the activity of his spirit, he
disclaimed the covert of his office, and betrayed thereunto by his own adventurousness, was casually
2
shot.
It is possible that Lawes spent time at Charles I’s court at Oxford (established there in 1642), and
considering the circumstances of his death at Chester it is likely that he also saw action in battle. He
may have been near York between 1642 and 1644, as his round See how Cawood’s dragons look
describes the ultimately unsuccessful Royalist defence of Cawood Castle (ten miles from York), when
Parliamentary forces converged on York.3 Lawes’ close association with Charles I and the heroic and
tragic circumstances of his death elevated him to the rank of Royalist célèbre, as reflected by his
inclusion in the post-Restoration dictionary of biography by Thomas Fuller, The History of the
Worthies of England (1662). Fuller’s account of Lawes’ death quoted above is followed by a
description of Charles I’s grief for his musician, the king having ‘a particular mourning for him when
dead, whom he loved when living, and commonly called the Father of Music’.4 More moving is the
personal testimony of William’s brother Henry, in the dedication to Charles I and preface of his own
Choice Psalms (1648), published in the last months of the king’s life:
Many of them [the psalms] were compos’d by my Brother (William Lawes), whose life and endeavours
were devoted to Your service: whereof, I (who knew his heart) am a surviving witness, and therein he
persisted to the last minute, when he fell a willing sacrifice for Your majestie... [he was] lost in these
unnaturall Warres; yet lyes in the Bed of honour, and expir'd in the Service and Defence of the King
5
his Master.
With a few exceptions, Lawes’ anthems are based on psalm texts, and draw on three traditions of
translation: Miles Coverdale’s prose translation (the two verse anthems and three pieces from Choice
Psalmes), and two metrical collections, George Sandys’ 6 (used by Henry and William in Choice
1
For further reading on William Lawes’ life and music, see Thomas Fuller, The History of the Worthies of England
(London, 1662; repr. London, 1952), 617–8 ; Murray Lefkowitz, William Lawes (London, 1960); and Andrew Ashbee,
ed., William Lawes (1602–1645): Essays on his Life, Times and Work (Aldershot, 1998).
2
Fuller, Worthies of England, 618.
3
The round appears in John Hilton (ed.), Catch that Catch Can (London, 2nd edn. 1658; repr. 1663, 1667 and 1673).
See David Pinto, ‘William Lawes at the Siege of York’, Musical Times, 127 (1986), 579–83.
4
Fuller, Worthies of England, 618.
5
Henry Lawes, Choice Psalms (London, 1648), Preface.
6
George Sandys, A Paraphrase Upon the Psalmes of David (London, 1636). Sandys later published A Paraphrase Upon
iii
Psalms) and Sternhold and Hopkins’ Whole Book of Psalms 7 (the psalms ‘to comon tunes’). The
adoption of the first two texts reflects Lawes’ position as part of the Court circle: Coverdale’s version
had been absorbed into Anglican worship long before it was included with the 1662 Book of
Common Prayer, and Sandys’ Paraphrase was a favourite book of Charles I. Yet as a court composer,
Lawes’ psalms ‘to comon tunes’ are an anomaly: while he writes for solo voices in the declaimed
manner of the Court verse anthem, he also plunders both texts and tunes of a style popular with
congregations but which by the 1630s was associated with the Puritan fringe of the Church of
England and could not be further from the High-Church stance of Charles and his bishops.
Determining the context and function of these psalms sheds light on the final years of William
Lawes’ life, music at the court of Charles I, and the practice of psalm singing in cathedrals before the
Commonwealth.
The Psalms ‘to comon tunes’: Text and Music
The tradition of metrical psalm singing arose from the aspiration of the Reformation movement to
render the Bible and liturgy accessible to the congregation, achieved by translation into the
vernacular, and, in the case of the psalms, into a rhyming and strophic form. The Book of Common
Prayer (1549) did not sanction the use of metrical psalms, ignoring the attempts of early publications
such as Coverdale’s Goostly Psalms and Spirituall Songs (London, c.1536) and Hopkins’ Certayne
Psalmes (London, 1547) to prompt liturgical reform and introduce congregational hymnody on the
same lines as Lutheran practice. Hopkins’ Certayne Psalmes included nineteen psalms. A second
collection published in 1549 shortly after Sternhold’s death, Al Such Psalmes of Daivid (London,
1549), included eighteen more psalms by Sternhold and seven by Hopkins. These forty-four psalms
were added to by Hopkins and other writers in several more publications, and culminated in The
Whole Booke of Psalmes (London, 1562).
However, while ‘it is true that [congregational] hymnody was not prescribed [in The Book of
Common Prayer]… neither was it proscribed’,8 and Elizabeth I’s Royal Injunctions of 1559
permitted ‘that in the beginning, or in the end of Common Prayers, either at morning or evening,
there may be sung an hymn, or suchlike song, to the praise of Almighty God, in the best sort of
melody and music that may be conveniently desired, having respect that the sentence of the hymn
may be understanded and perceived’. 9 The translation into metre of the whole Psalter and canticles
suggests that these versions were used as alternatives to the official prose versions. The psalm
collections were also intended for domestic use, with books with four parts arranged so that singers
could perform from a single copy, and some editions provided lute or cittern accompaniment.
The practice of congregational psalm singing was not officially recognized until Parliament’s A
Directory for the Publique Worship published in 1644,10 where it is recommended that psalms be
sung ‘before or after the reading’ and before the Dismissal.11 With the benefit of hindsight, and in the
the Divine Poems (London, 1638), which included tunes for the psalms by Henry Lawes.
7
Thomas Sternhold and John Hopkins, The Whole Booke of Psalmes, Collected into Englysh Metre (London, 1562):
numerous reprints and revisions followed.
8
Robin Leaver, ‘Goostly Psalmes and Spirituall Songes’: English and Dutch Metrical Psalms from Coverdale to Utenhove,
1535–1566 (Oxford, 1991), 132.
9
Quoted in Leaver, Goostly Psalmes, 239.
10
A Directory for the Publique Worship of God Throughout the Three Kingdoms of England, Scotland, and Ireland.
Together with an Ordinance of Parliament for the taking away of the Book of Common-Prayer (London, 1644).
11
‘And because singing of Psalmes is of all other the most proper Ordinance for expressing of Joy and Thanksgiving, let
some pertinent Psalme or Psalmes be sung before or after the reading of some portion of the Word suitable to the present
businesse … And so, having sung another Psalme suitable to the mercy, let him [the Minister] dismisse the Congregation
iv
context of the Directory, these metrical psalm settings became associated with the Puritan reforms of
Parliament; in reality, however, the Directory was reflecting a custom established in cathedrals (such
as Worcester and York12) and parish churches before the Civil War. Indeed, the suppression of
congregational psalms in some cathedrals by High-Church divines in the 1620s heightened worries
that the Anglican Church was set on a course back to Rome. Peter Smart spoke vehemently when
John Cosin, canon at Durham and Chaplain to Charles I, abolished the practice of psalm singing at
Durham Cathedral:
Lastly, why forbid they singing of Psalmes in such a tune, as all the people may sing with them, and
praise God together, before and after Sermons, as by authority is allowed, and heretofore hath been
practised both here and in all reformed churches. How dare they in stead of Psalmes, appoint
Anthems, (little better than profane Ballads some of them) I say, so many Anthems to be sung, which
none of the people understand, nor all the singers themselves, which the Preface to the Communion
booke, and the Queenes Injunctions, will have cut off, because the people is not edified by them. Is it
for spite they beare to Geneva, which all Papists hate, or for the love of Rome, which because they
cannot imitate in having Latine service, yet they will come as neer it as they can, in having service in
English so said and sung, that few or none can understand the same? I blame not the singers, most of
13
which mislike these prophane innovations, though they be forced to follow them.
The language of Sternhold’s translations is governed but never constrained by the self-imposed
structure of the metre and rhyme schemes. Sternhold developed the Common Metre (8686) from the
so-called Ballad Metre14 and within this ‘repetition of sound, word and idea’15 are important aspects
of his style. Occasionally, redundant words such as ‘eke’ or ‘whit’ are used to complete the rhyme or
metre scheme. Sternhold also draws on Coverdale’s prose translations, from which he expands or
compresses ideas. For instance, in Psalm 18, part 1, a particularly vivid text, Sternhold’s version
builds on the images of the prose version, with the urgency of the text more obviously portrayed by
the rhythm and rhyme of the metre. The concise paraphrase in verses one and two is contrasted with
verse three, where the metrical scheme is completed by another paraphrase of the verse:
Sternhold
Coverdale
1. O God my strength and fortitude,
Of force I must thee love:
Thou art my castle and defense,
In my necessity.
I will love thee, O Lord, my strength; the Lord is my stony rock,
and my defence:
My God, my rock, in whom I trust,
The worker of my wealth:
My refuge, buckler, and my shield,
The horn of all my health.
my saviour, my God, and my might, in whom I will trust, my
buckler, the horn also of my salvation, and my refuge.
with a blessing’ (A Directory for the Publique Worship, 81–2).
Worcester’s organist Thomas Tomkins was required to play ‘to the psalms at sermons and morning prayer’ (Worcester
Cathedral Treasurer’s Accounts, 1643, quoted in Ivor Atkins, The Early Occupants of the Office of Organist and Master
of the Choristers of the Cathedral Church of Christ and the Blessed Virgin Mary, Worcester (London, 1918), 54), and
such services were attended by a congregation ‘a greater I have not seen but that at St Paul’s’ (William Smith to
Archbishop Laud, 18 November 1639, in William Hamilton , ed., Calendar of State Papers, Domestic Series, of the Reign
of Charles I (London, 1874), vol. 15 (1639–40), 108). The custom of psalm singing at York is discussed below.
13
Peter Smart, A Sermon Preached in the Cathedrall Church of Durham, July 7 1628 (London, 1640), 19–20. His
description of the order and position of psalm singing corresponds with that in the Directory (n.11 above): ‘But every
Preacher in a cathedral Church goeth up to the pulpit, taketh up a text of Scripture, hath a Psalme sung, and maketh a
prayer, before the Sermon; Which Sermon being done, concludeth with a prayer, he sitteth down in the pulpit till the
Psalme be ended, and then standing up, he dismisseth the congregation with the blessing of God’s peace’ (A Catalogve of
12
Superstitons Innovations in the Change of Services and Ceremonies, of Presumptuous Irregularities, and Transgressions
(London, 1642), 16).
14
Leaver, Goostly Psalmes, 119.
15
Rivkah Zim, English Metrical Psalms: Poetry as Prayer and Praise, 1535–1661 (Cambridge, 1987), 118.
v
2. When I sing laud unto the Lord,
Most worthy to be served,
Then from my foes I am right sure,
That I shall be preserved.
I will call upon the Lord, which is worthy to be praised: so shall I
be safe from mine enemies.
3. The pains of death do compass me,
And bound me everywhere:
The flowing waves of wickedness
Did put me in great fear.
The sorrows of death compassed me: and the overflowings of
ungodliness made me afraid.
Poetic devices such as wordplay, (the succession of ‘laud… Lord’, v.2), alliteration (‘the sly and
subtle snares…’, v.4, not set by Lawes), ‘royally he rode’ and ‘wings of all the winds’, v.10),
enjambement (‘Yea the foundations of the mount / of Basan’, v.7) and onomatopoeia (‘quake’, v.7)
further enliven the translation. Sternhold may modify textual ideas of Coverdale (‘the overflowings of
ungodliness’ becomes ‘The flowing waves of wickedness’, v.3) or retain them without alteration
(‘consuming fire’, v.8).
It is not surprising that William Lawes was drawn to these expressive texts. For some time English
composers had been concerned with following the Italian musical developments and establishing a
declaimed style of their own. While an effective recited style had emerged in music for the stage
(evident in contributions by Henry and William Lawes), sacred music was more resistant to
progressive ideas. To some extent, the declaimed style of the consort and verse anthem had already
anticipated the stile nuove demands for clarity of text, though most works in this genre still held on
to the archaic polyphonic texture derived from viol consort accompaniment. Walter Porter had
adopted a florid style and borrowed the more ostentatious Italian devices such as trillo in ‘O praise
the Lord’ of his Madrigales and Ayres (1632)16 but paid less attention to declamation. Although
Lawes contrasts solo sections with chorus (the verses ‘to comon tunes’), he has dropped the traditional
form of the Jacobean verse anthem in favour of an arioso vocal style set above a functional bass
accompaniment.
Lawes’ verses are freely composed, so unlike other settings of metrical psalm texts, no reference is
made to the relevant melody (though the opening to The Lamentation is identical to the first phrase
of The Humble Suite of a Sinner common tune). The overall dramatic and penitential mood of the
psalms displays Lawes’ typical vocal style: expressive solo and chorus passages, combining Italianate
declamation with more lyrical writing, exploiting limits of vocal range, chromaticism, dissonance
and harmony. Indeed, in mid-seventeenth-century sacred music, these extremes are found only in the
anthems and motets of George Jeffreys. It is not easy to highlight individual solo sections above
others: often these acquire emotional impact in the context of the sequence of solo and chorus
sections which also provides further structural cohesion to the imposed contrast of verse and common
tune. Particularly effective is Psalm 18, with the final text ‘And on the wings of the wind’
culminating with an athletic bass solo and chorus. In Psalm 22, part 2, the imagery foreshadowing
the Crucifixion demands a balance of restraint (falling figures in ‘But I drop down’) and desperation
(the opening declamation ‘O Lord depart not now from me’, ‘And like a potsherd’), and the choice of
a major key renders chromatic inflexion more effective, such as ‘in this my wretched grief’ and ‘And
many dogs do compass me’; appropriately, the psalm concludes irresolutely with just tenor 2 and
bass.
Lawes’ use of common tunes conforms closely to the standard melodies included in contemporary
17
publications. He sets a precedent in one psalm: Psalm 6 has a tune with which it was not usually
16
17
Walter Porter, Madrigales and Ayres. Of Two, Three, Foure and Five Voices, with the Continued Base (London, 1632).
Details of the sources of the texts and common tunes are included in the Editorial Commentary.
vi
associated, though eventually text and melody were combined in print in 1661. Often the key chosen
for the solo verses of Lawes’ settings may not correspond with that of the common tune in printed
collections. This can set the common tune at a higher pitch, usually only up a tone (Psalm 22,
usually C; Psalm 100, usually F or C; The Humble Suite of a Sinner, D minor or A minor), though
Psalm 67 shifts the common tune up a fifth, from the usual G minor to D minor. Even the range
after the transposition in Psalm 67 does not exceed the ambitus of the tunes as a whole, d-a′, so
although Lawes’ invariably chose of keys higher than the usual key of the common tune, the
18
subsequent range remains practical for congregational singing.
Lawes’ choice of source text, eschewing the versions of the traditional Prayer Book and court favourite
George Sandys and preferring Sternhold’s balanced paraphrase, is well-suited to exploring the new
declaimed vocal style. However, the quality of his settings suggests they were more than
experimental works. If the psalms were intended for performance, the selection of texts is such that
they may have been performed within a service either as para-liturgical psalms before and after the
sermon and at the Dismissal as described above, much like hymns today, or as substitutions for prose
texts in The Book of Common Prayer. In the 1559 Prayer Book, Psalm 67 can replace the Nunc
Dimittis as a canticle at Evening Prayer and Psalm 100 is offered as an alternative to the Benedictus
at Matins. Two works, Psalm 6 and Psalm 22, did not become proper psalms (for Ash Wednesday
and Good Friday respectively) until the 1662 Book of Common Prayer. Psalm 18 is the appointed
psalm for Evening Prayer on the third day of the month, though Lawes sets only the first of four parts
(or ten of fifty-one verses). Psalms 6 and 51 are also penitential psalms. Three texts, The
Lamentation, The Lamentation of a Sinner and The Humble Suite of a Sinner, feature only in
metrical psalters.
The ordering of the psalms in the principal source (Christ Church, Oxford, Mus. 768–70,
manuscripts in the hand of Edward Lowe; see Table 1) does not provide any evidence of the
performance context: the order does not follow the that of the Psalter and it is not arranged, as
printed collections often were, according to key or scoring; however, the sequence within the part
books is consistent, with the exception of the placement of Psalm 67 in Mus. 769 and Mus. 770.
Table 1: contents of Christ Church, Oxford, Mus. 768–70
Psalm
The Lamentation
768
1r
67
18
769
3r
770
Key
1r
G minor
2r
D minor
2v
G major
3v
G minor
4v
D minor
100
2v
6
3v
51, part 1
4v
51, part 2
5v
2r
5r
D minor
18, part 1
6v
4r
5v
G minor
The Humble Suite of a Sinner
7v
5r
6v
A minor
The Lamentation of a Sinner
8v
6v
7v
G minor
22, part 1
9r
7v
8r
D major
22, part 2
10r
8v
8v
D major
22, part 3
11r
9v
9v
D major
1r
See notes on Performance for further discussion of performance and pitch of the common tunes.
vii
Music for the Siege of York
It is difficult to imagine a context for the singing of these psalms until one reads an oft-quoted
passage from Thomas Mace’s Musick's Monument (1676), which includes a striking account of
church services in York Minster during ‘the great and close siege’ of York:
By This occasion, there were shut up within that City, abundance of People of the best Rank and
Quality, viz. Lords, Knights, and Gentlemen of the Countries round about, besides the Souldiers and
Citizens, who all or most of them came constantly every Sunday, to hear Publick Prayers and Sermon
in that spacious Church. And indeed their Number was so exceeding great, that the Church was (as I
may say) even cramming or squeezing full. Now here you must take notice, that they had then a
Custom in that Church, (which I hear not of in any other Cathedral, which was) that always before the
Sermon, the whole Congregation sang a Psalm, together with the Quire and the Organ; And you
must also know, that there was then a most Excellent-large-plump-lusty-full-speaking-Organ, which
cost (as I am credibly informed) a thousand pounds. This Organ, I say, (when the Psalm was set
before the Sermon) being let out, into all its Fulness of Stops, together with the Quire, began the
Psalm. But when That Vast-Conchording-Unity of the whole Congregational-Chorus, came (as I may
say) Thundering in, even so, as it made the very Ground shake under us; ... Because that at That Time,
the desperateness and dismaidness of their Danger could not but draw them unto it, in regard the
Enemy was so very near, and Fierce upon them, especially on That side the City where the Church
stood; who had planted their Great Guns so mischievously against the Church, and with which
constantly in Prayers time they would not fail to make their Hellish disturbance, by shooting against
and battering the Church, in so much that sometimes a Canon Bullet has come in at the windows,
19
and bounc’d about from Pillar to Pillar, (even like some Furious Fiend, or evil Spirit).
Mace, either an eyewitness to the event himself or relying on information from his brother, Henry, a
vicar choral at York,20 is probably describing the events that took place on 16 June 1644, Trinity
Sunday: York had been surrounded by the joint forces of the Scottish and Parliamentarian armies for
two weeks, and on this day the besiegers mined the city walls at King’s Manor, not far from the
21
Minster. The texts seem particularly appropriate for a city under siege: ‘but Lord how long wilt
thou delay to cure my misery’ (Psalm 6), ‘O Lord consider my distress, and now with speed some pity
take’ (Psalm 51, part 1), ‘Cast me not Lord out from my face, but speedily my torments end’, ‘build
up thy walls and love it still’ (Psalm 51, part 2), ‘O God my strength and fortitude’, ‘The Lord
descended from above, and bow’d the heavens high’ (Psalm 18). The siege of York lasted some twelve
weeks over the summer of 1644. Lawes set twelve psalms, and it is possible that he was part of the
Royal Army routed at Marston Moor on July 7, and that the psalms were written for the Sunday
services described by Mace.
It has already been noted that Lawes may have been in the vicinity of York during the autumn of
1642. He may have travelled to the city with Charles I, who established his court there for six
months in 1642.22 Charles recognized the strategic importance of York: he spent much time there
during the Scottish campaign, 1639-40, and following his rift with Parliament early in 1642 he
moved the court there in March and requested his local supporters to follow him to Nottingham,
where he eventually raised his standard in August. The king had attended services in the Minster
19
Thomas Mace, Musick's Monument (London, 1676; repr. Paris, 1958), i, 19–20.
Thomas mentions his brother by name as a clerk at York in Musick's Monument, Vol. 1: The Subscriber’s Names.
21
Other descriptions of the siege are understandably less concerned with the music but nevertheless draw attention to the
timing of the attack. One Royalist commentator saw the besieging forces’ purpose was no less than ‘to abolish the service
of the Common-Prayer in a Military Way, which by Disputation they were not able to performe’ (Christopher Hildyard,
A List or Catalogue of all the Mayors of Yorke (York, 1664) quoted in Peter Wenham, The Great and Close Siege of York,
1644 (York, 1970), 60), while others suggest the strike was planned to catch the Royalists by surprise, ‘when most of the
commanders for the city were at the cathedral’ (Francis Drake, Eboracum, or the History and Antiquities of the City of
York (London, 1736), 166).
22
See C. V. Wedgwood, The King’s War 1641–1647 (London, 1958), 82–7.
20
viii
during the 1630s: he had been most concerned about the fixed seating in the quire, and it was at his
insistence that the new Dallam organ completed in 1634 (and described by Mace) was set up on the
north side of the quire so as not to obstruct the view of the east window from the nave.23 When
James, Duke of York (later James II) and Prince Rupert were to be invested as Knights of the Order
of the Garter on St George’s Day, April 23,24 Charles had hoped that his musicians from chapel and
chamber would follow him from London, but some were not prepared to make the journey as their
salaries were already two years in arrears.25 Nonetheless, the ceremony went ahead in the chapter
house, ‘with the utmost magnificence’.26 Was Charles fortunate enough to have a loyal core of
27
musicians with him in York such that he was later to enjoy in Oxford or would he have been forced
to rely on the regular Minster singers and other York musicians for such occasions as 23 April or 29
June 1642 when ‘the King, Prince, with the Nobility being present, came in great State that day to
the Sermon’28 at the Minster? And even if Lawes had been in York with the king, would he have
remained there for another two years after the court had moved south?
The limited but persuasive evidence for Lawes’ presence in York rests on the canon describing the
taking of Cawood Castle29 and Mace’s colourful account of the siege. It is quite possible that Lawes
could have written the canon drawing on second-hand information, since both court and Parliament
factions were following events in the north with interest.30 The psalm singing ‘Custom in that
Church’ recalled by Mace bears a striking similarity to the structure of Lawes’ psalms, though also
resembles the practice of ‘lining-out’, with the choir beginning each line of the psalm and then
followed by the congregation: ‘This Organ, ... together with the Quire, began the Psalm. But when
That Vast-Conchording-Unity of the whole Congregational-Chorus, came (as I may say) Thundering
in’.31 Furthermore, the virtuoso solo writing of the psalms would probably stretch the skill of most
singers outside the Chapel Royal.
These considerations aside, if Lawes were in York, at the Minster he would have at his disposal the
two musical traditions represented in the collection of psalms. In 1634 the choir and organ were
23
The previous organ had been on the choir screen, ‘but was removed hence by order of king Charles I, and placed
opposite to the bishop’s throne [the south side of the Quire]. His majesty giving for reason that it spoiled the prospect of
the fine east window from the body of the church’ (Drake, Eboracum, 521). See Michael Sayer, ‘Robert Dallam’s Organ in
York Minster, 1634’, British Institute of Organ Studies Journal, 1 (1977), 60–8, for a detailed study of the organ.
24
April 20 1642: ‘Upon Saturday the Duke of York… was welcomed into this city with 800 or 900 horse, and at night
with bonfires all the town over…. Upon Monday, the king, having begun the feast of St George for the last year, together
with the Lords of the Garter here present, held a chapter and elected the young Duke into that order’ (Hamilton (ed.),
Calendar of State Papers (London, 1887), Vol. 18 (1641–3), 304).
25
In early April Charles had requested ‘Musitions for ye wind Instruments the whole company, Musitions for ye Violins
the whole company, Trumpetters the whole company, Drumers the whole company, Gentlemen of ye Chappell’ attend
him ‘at York and at St George’s Feast’ (Andrew Ashbee, ed., Records of English Court Music (Snodland, 1988), iii, 115)
though in March the Commissioners of the Treasury received a petition from the musicians in ordinary of the wind
instruments who declared that they had ‘received command from his Majesty to attend and then do service at York, and
are most ready to do so; but they are behind of their ordinary entertainments in the Exchequer above two years….’
(Calendars, 301).
26
Drake, Eboracum, 144.
27
This hypothesis is explored by Jonathan Wainwright, Musical Patronage in Seventeenth-Century England: Christopher,
First Baron Hatton, 1605–70 (Vermont, 1997), 169–177.
28
The last newes from Yorke and Hull. Or A true relation of all the passages and other occurrences that hath happened in
and about the city of Yorke, and the towne of Hull from the twenty sixth of June, to the third of July (London, 1642), 4.
29
See footnote 3 above.
News-sheets published in London were swift to report the success of Parliamentarian supporters in Yorkshire: see The
last newes from York and Hull (London, 1642), Most joyfull newes by sea and land, being the true relation of a glorious
30
victory obtained by the Lord Fairfax and Captain Hotham sonne to Sir Iohn Hotham at Cawood Castle in York shire,
against the Earle of Cumberland and his northerne cavaliers (London, 1642), and A true and perfect relation of a
victorious batell (London, 1642).
31
Mace, Musick's Monument, 19.
ix
praised by three military officers on tour, who observed that ‘we heard a faire, large, high organ,
newly built, richly gilt, carv’d and painted; and deep and snowy row of quiristers’.32 There is no
information of Minster Choir numbers after 1642, but there is little change in numbers between the
1620s and 1642, the last year of records, with the numbers of not less than twelve choristers and
eight male adult singers remaining stable:33 the full choir had presumably been disbanded soon after
the siege in July 1644. In August 1645 the regional Commonwealth Committee ordered that the
music books and fabric of the organ be handed over,34 though there is evidence that the eight adult
singers continued to lead worship after this time.35 Only one set of pre-Interregnum music books
survives, York Minster Library M 13 S, dating from the 1610s, which contains morning and evening
36
service music by Tudor composers Parsons, Mundy, Morley, Sheppard and Byrd and no doubt the
37
choir also sang the standard full and verse anthem repertoire of this period. Of the custom of psalm
singing noted by Mace, several psalters were purchased for the choir from the late sixteenth century,38
and when services were discontinued it fell to the Commonwealth Committee to pay ‘five pounds to
Mr [Henry] Mace in full for all of demands for his former paynes in beginning the psalme at the
39
Minster’.
Was this the environment that prompted Lawes to compose his psalms ‘to comon tunes’? If indeed
York was the venue for these psalms, then it is more likely that the psalms’ performance was initiated
when the court was in York during 1642 and subsequently remained in the Minster choir’s
repertoire. The court was in York for most of Lent, arriving on Friday 18 March, and three of the
psalms representing half the collection are appropriate for this season (Psalm 6, 22 and 51). The king
attended the Maundy service on Thursday of Holy Week (April 7) as he had done in 1639.40
Inevitably, further conclusions concerning Lawes’ movements in the north can only be conjectural,
32
Leopold Legg, ed., A relation of a short survey of 26 counties, observed in a seven weeks journey begun on August 11,
1634, by a captain, a lieutenant, and an ancient, all three of the military company in Norwich (London, 1904), 16.
33
Payments to the Vicars Choral (some of the adult singers) in 1641 are recorded on the Chamberlain's Roll for singing
obit services and are the last records of financial transactions of the Dean and Chapter before the Restoration (York
Minster Library, VC 6/123, 124). See David Griffiths, A Musical Place of the First Quality: a History of Institutional
Music-Making in York, c.1550–1990 (York, 1994), 10.
34
The Commonwealth Committee for York and Ainsty ordered on 4 August 1645 that ‘Mr Doctor Hodson [Chancellor
of York Minster] be desired to deliver unto Richard Dossy the books and parcels of the organs’ (Angelo Raine, ed.,
‘Proceedings of the Commonwealth Committee for York and Ainsty, from York City MSS. E30, 31, and House Books
XXXVI and XXXVII’ in Charles Whiting, ed., Miscellanea, vi, Yorkshire Archeological Society, Record Series, 118
(Leeds, 1953)).
35
On 8 February 1646, the Commonwealth Committee for York and Ainsty ‘ordered that Mr Mace [Henry, Thomas’
brother], Mr Belwood, Mr Smith, Mr Lawrence and Mr Bullen, the vickars chorall, appere at this place this day fortnight,
as alsoe John Richmond, Richard Marcshamm, Henry Thompson, singing men’ and March 15 1646 was ‘the day
appointed for the vicars choral, the singing men, to give their answer if they will take the National Covenant. And if any
of them shall not then appear at my Lord Mayor’s house herein, this shall be taken as a denial’ (‘Proceedings of the
Commonwealth Committee’, 9).
36
See David Griffiths, A Catalogue of the Music Manuscripts in York Minster Library (York, 1981), 78–79. Much of the
choir’s library was lost in the Minster fire of 1829.
37
After the Restoration, the Vicars Choral noted to the Dean and Chapter that ‘wee have 10 bookes printed in folio of
services and anthems which are something rotted and decayed…’ (‘Humble answers of the Vicars Chorall’, quoted in F.
Harrison, Life in a Medieval College (London, 1952), 325–7), which probably refers to John Barnard’s First Book of
Selected Church Music (London, 1641).
38
Acquisitions of psalters in the 1570s are recorded in York Minster Archives E3/53–57, with the Vicars Choral being
provided with ‘a psalter & a booke of Geneva psalmes’, suggesting performance of both prose and metrical versions of the
psalms, and York Minster Fabric Rolls, which includes payments ‘To Thos. Richardson for ii Geneva Psalters for the
choristers, 2s. 4d’ (1580–1) and ‘To Anthonie Foster for two Psalters with Psalmes, 8s’ (1581–2) (in James Raine (ed.),
The Fabric Rolls of York Minster, with an Appendix of Illustrative Documents, Publications of the Surtees Society, Vol.
35 (Durham, 1859), 118).
39
Entry for 29 March 1647, ‘Proceedings of the Commonwealth Committee’, 10.
40
Drake, Eboracum, 137 and 142.
x
but it does seem improbable that a musical motive alone would prompt the composer to remain in
York after the court headed south.
The court at Oxford
Charles arrived in Oxford in late October 1642 after victory at the Battle of Edgehill, and set up his
court at Christ Church. The university town soon adapted to its new role as a garrison to several
regiments and a new home to the loyal nobility and gentry flocking to the king’s side. Recent
research has suggested that the court at Oxford was a centre of musical activity, with Charles and
Henrietta Maria both boasting their own musical household.41 As at York, many of the king’s
musicians could not afford to join the court in Oxford, but those who did were paid on an occasional
42
basis. Anthony à Wood and John Hawkins both note the presence of George Jeffreys (as organist to
Charles I) and John Wilson, and it is also likely that Henry Lawes made visits to the town.43 As a
composer of merit, one would expect mention of William Lawes’ name if he too had been in Oxford,
but again the records, such that they are, are silent. However, the sole source for most of this
collection is a set of partbooks held in Christ Church Library copied by Edward Lowe, Mus. 768–70,
and dating from the 1670s when Lowe was professor of music. Lowe had been organist of Christ
Church from 1631.44
There is scant information regarding the king’s worship, and it is not clear whether he attended the
regular services in Christ Church (college chapel and cathedral foundation) or his own private
services: several sermons published in pamphlet form are described as having been delivered at Christ
Church before the king, possibly indicating that on occasions he was present at the cathedral.45
Similarly, there are few records of the performance of sacred music: Hawkins comments that ‘choral
services were performed…. after a very homely fashion’.46 The turncoat Sir Edward Dering, who left
Oxford for London in 1644, cited the style of worship and music as a reason for his defection: he
complained of ‘Organs, Sackbuts, Recorders, Cornets, &c. and voices…. mingled together, as if we
would catch God Almighty with the fine ayre of an Anthem, whilst few present do or can
understand’.47 In Oxford, Charles was surrounded by several High Church writers and clergy, which
only fuelled existing Protestant fears that the king was an agent of the Roman Catholic Church. The
few surviving sources of music from Civil War Oxford support the reason for Dering’s objection of
the High Church worship there. Jeffreys and Stephen Bing copied many Italian motets for
Christopher, First Baron Hatton, Comptroller of the King’s Household, which were no doubt
intended to accompany the king’s or queen’s worship.48
The modest scoring of the psalms ‘to comon tunes’ and those in Choice Psalms would be well-suited
41
Wainwright, Musical Patronage, 169–177.
See Ashbee, ed., Records, 119.
43
Henry Lawes had visited Oxford with the Court in 1636, when he provided music for two plays. Recent research by
David Pinto has credited Henry Lawes with providing the music to several ‘court carols’ performed in Oxford between
1642 and 1646 for which only the texts survive: see ‘The True Christmas: Carols at the Court of Charles I’, in Ashbee,
William Lawes, 97–120.
44
‘Lowe, Edward’ in Andrew Ashbee and David Lasocki, eds., A Biographical Dictionary of English Court Musicians
1485–1714 (Aldershot, 1998), ii, 740–2.
45
See, for instance, Richard Harwood, King David’s sanctuary, or. A sermon preached before the His Majesty the fourth of
Febr. 1643 at Christ-Church in Oxford (Oxford, 1644), and John Berkenhead, A sermon preached before his Majestie at
Christ-Church in Oxford, on the 3. of Novemb. 1644. after his returne from Cornwall (Oxford, 1644).
46
John Hawkins, A General History of the Science and Practice of Music (London, 1776), iv, 323.
47
Sir Edward Dering, A Declaration (London, 1644).
48
Most of the printed and manuscript contents of Hatton’s library is held in Christ Church Library, Oxford. For a
detailed study of the collection, see Wainwright, Musical Patronage.
42
xi
to the limited musical forces available in Oxford, and Henry Lawes writes of the published collection
that they were ‘born and nourish’d in Your Majesties service’.49 If the psalms were written in Oxford,
then they may have been performed before and after the sermons regularly preached to Charles in
Christ Church. But would Charles have tolerated the Low Church associations of the psalm
translation and the common tunes? Certainly the psalms are at odds with the other extant music
from the Oxford court, the Latin motets by Italian composers. Perhaps therefore it is significant that
the music survives in Lowe’s and not Hatton’s (high church) collection. With Lowe and Jeffreys both
present in Oxford, it is possible that Lowe played for services in the cathedral and Jeffreys was
responsible for the king’s private worship, 50 and Lowe’s manuscript might reflect both the separate
roles of the two organists and the distinct styles of the king’s private and public worship.
Colonel Charles Gerard’s regiment of foot was stationed at Oxford from 1642 until 8 May 1644,
when Gerard led it to Wales. It was with this regiment that Lawes served and lost his life at the
Battle of Rowton Moor near Chester in September 1645.51 Fuller’s account of Lawes’ life provides no
detail of when Lawes joined the regiment, but clearly he would have been unavailable to join the
regiment at this time were he at the Siege of York and the Battle of Marston Moor (April 22 – July
16). Such was the movement of troops in England and the demand for recruits that Lawes could have
joined Gerard’s troop any time after it left Oxford in May 1644.52
The Chapel Royal
The Chapel Royal itself was an itinerant organization, based in London but moving with the king
when he travelled around the country. Music by Lawes features in Chapel Royal sources before the
Civil War and at the Restoration. At least one psalm from Lowe’s collection was also in circulation
in London by the first years of the Restoration: Psalm 22 appears in an organ book of possible Chapel
Royal provenance now held in Durham Cathedral, Dean and Chapter Library, MS B.1. This source
contains works by other early Restoration Chapel Royal composers (and also includes Lawes’ own The
Lord is my light and my salvation).53 The psalm is copied with the common tune verses omitted and
a few minor alterations, including the introduction of another voice at the end of one section to
compensate for the alteration of the structure, thus transformed from occasional piece to traditional
verse anthem.
Inevitably it is difficult to establish a context for the psalms based on little tangible evidence. The
close circle of personnel at the Oxford court during the Civil War and at the Chapel Royal in London
in the 1630s, which included the Lawes brothers, Lowe and Wilson, was such that the composition of
49
Henry Lawes, Choice Psalms, Preface.
See Wainwright, Musical Patronage, 119.
51
For details of the battle, see Peter Young and Wilfrid Emberton, Sieges of the Great Civil War (London, 1978), 107–
116.
52
Lawes would have been able to travel south after Marston Moor, as the conditions of surrender imposed on the king’s
forces in York were lenient: ‘the Governour, and all Officers and Souldiers, both Horse and Foot…[were allowed to]
march out of the City on Horse-back and with their Armes, flying Colours, Drums, beating Matches lighted on both
ends, Bullets in their mouths, and with all their bag and baggage, that every souldier shall have 12 charges of Powder’
(Article 2, The articles of the svrrender of the city of Yorke to the Earle of Leven, Lord Fairefax, and Earle of Manchester,
on Tuesday July 16, 1644 (London, 1644)). Perhaps he joined Lord George Goring or Prince Rupert, who both marched
south to take part in Charles I’s Cornish campaign (August-September). He could have remained at the king’s side, and
joined Gerard’s regiment later in 1644 or at Chester itself. Gerard returned to Oxford to reinforce the Royal Army after
the Second Battle of Newbury (27 October 1644). On 18 September 1645 near Hay-on-Wye Charles’ Oxford army
combined with other brigades, including Gerard’s, to march to Scotland. On their journey north they hoped to relieve
Chester.
53
See Brian Crosby, ‘An Early Restoration Liturgical Musical Manuscript’, Music & Letters, 55 (1974), 458–64.
50
xii
the psalms may have occurred any time during the 1630s and 40s. It is clear that the form of the
psalms copied by Lowe pre-dates the version of Psalm 22 in the Chapel Royal source, but although
the sources vary occasionally they also agree over several errors, suggesting an initial common source.
In the Chapel Royal manuscript, the psalm is not the only work to be modified and so it may have
been revised after the Restoration,54 but equally the arrangement could have been made by the
composer himself as a musical self-imposed censorship in response to the High Church movement
when he wrote for the Chapel Royal in the 1630s.
The reduced scoring of the psalms at the Chapel Royal was not unprecedented. William Child’s
First Set of Psalmes of III Voices…. Newly Composed After the Italian Way (London, 1639) was
dedicated to Charles, and Henry and William Lawes’ Choice Psalms may also have been written at
this time, perhaps for the king’s private devotion.55 The psalms ‘to comon tunes’ share with the some
of the Choice Psalms a predilection for texts that mirror the determination of Charles to save the
crown, even at the cost of his own life, and uncomfortably anticipate the ‘sacrificial’ deaths of both
56
himself and William Lawes. Such resolve hardened as the war with Parliament continued and the
King’s cause became more desperate.57 In this context, William Lawes’ psalms could be seen as the
first of the musical panegyrics for the doomed Royalist cause that were later to include music by
other members of the king’s inner musical circle, such as the penitential anthems of Jeffreys,
Wilson’s Psalterium Carolinum, and William and Henry Lawes’ own Choice Psalms.58 Nonetheless,
whatever the raison d'être of these psalms, be they prompted by specific circumstances or intended
for regular worship, their unusual style is a radical departure from the typical Jacobean verse anthem
and provides a unique musical insight into the political, social and religious frictions of the day.
Performance
Liturgical Context
The pragmatic nature and diverse elements of these psalms make them ideally suited for varied
occasions (concert or service, as psalm or anthem) and forces (full choir, men only, congregation).
The psalms are appropriate for use either as a psalm or anthem: as a psalm with full choir or
congregation taking the common tune verses, and as an anthem with the common tune verses
omitted if desired, with solo lines sung by a single voice and ensemble sections sung by full choir (as
with the later version of Psalm 22, see Scoring below). Lawes never sets the Doxology in verse
sections nor indicates its use in the ‘common tune’ sections, and in several psalms directs that the
final verses be repeated by chorus (Psalm 18, 100): while the Doxology is similarly not usually
included with psalms in metrical collections, no doubt congregations would have been accustomed to
54
For instance, Locke’s ‘Lord let me know mine end’ is rearranged and ascribed to Silas Taylor: see Crosby, ‘Early
Restoration’, 460.
55
See Andrew Robinson, ‘‘Choice Psalmes’: A Brother’s Memorial’, in Andrew Ashbee, ed., William Lawes, 181.
56
Choice Psalms includes settings of Psalms 6 and Psalm 22 (see also psalms ‘to common tunes’) and an anthem in three
parts based on the Lamentations of Jeremiah. Other works include the prophetic ‘In the substraction of my years’, with
the text ‘cut off by death before my time, and like a flower cropt in my prime’, and ‘Music, the master of thy art is dead’
in memory of John Tomkins.
57
Such feeling is evident in the text of the sermon preached to Charles I at Christ Church after his return from the Cornish
campaign: John Berkenhead proclaimed that ‘They who under the royall command of a rightfull King, obediently,
conscionably, zealously, and courageously fight against a Schismaticall, or Hereticall Rebellious people, (who make
religion the pretext for Rebellion) if they die, they dye Martyrs, if they live, they live Confessors: and therefore we must
feare even the Princes sword’ (A Sermon (Oxford, 1644), 19).
58
John Wilson, Psalterium Carolinum: The Devotions of His Sacred Majestie in His Solitudes and Sufferings (London,
1657), with the Dedication written by Henry Lawes, and Henry Lawes, Choice Psalms.
xiii
adding that portion of text. Table 2 lists the use of the psalms, and though none of them appear as
Proper psalms in the 1559 Prayer Book, their function in the 1662 Prayer Book reflects the
prevalence of penitential and Lenten texts. Two psalms, 6 and 51, are also penitential psalms, and
the texts that are not psalms are not included in any version of the Prayer Book.
Table 2: Psalm usage
Psalm
6
18, part 1
22
51
67
100
Use according to The Book of Common
Prayer (1662)
Ash Wednesday, Matins
Good Friday, Matins
substitute for Nunc Dimittis, Evensong
substitute for Benedictus, Matins
The Lamentation
The Humble Suite of a Sinner
The Lamentation of a Sinner
Seasonal use
Lent
General
Holy Week, Lent
Lent
General
General
General
General
General
Scoring and Pitch
The psalms in this volume share the three-part male voice scoring of clefs C3, C4 and F4, typical of
Italianate music at this time, while the nomenclature reflects the traditional vocal usage within
church and cathedral choirs of countertenor, tenor and bass. The countertenor range and the vocal
versatility demanded of the bass (over three octaves, D′ - e, spanned just within one solo) suggests
that the pitch used then is close to today’s and the transposition up a minor third often applied in
works from the 1620s–30s would be impractical.59 Even so, the countertenor range is not suitable for
a modern alto, here descending as low as the tenor, and in this edition the part has been transcribed
in an octave-treble clef. Too little is known of vocal technique in the seventeenth century to presume
that there were not falsetto singers in cathedral choirs (as the modern countertenor), but it is equally
possible that the different size of choirs from today elicited a different singing tradition,60 perhaps
resulting in a timbre comparable to the French haute-contre. Although The Lamentation of a Sinner
is incomplete, the scoring of the other psalms is self-sufficient (and reflected in the Chapel Royal
version of Psalm 22). The verse sections should be sung by solo voices, as some florid phrases make
this necessary. However, the later source of Psalm 22 makes a distinction between verse and chorus
passages within these through-composed sections, possibly indicating single voices for complex solo
phrases, and chorus for the passages with all parts singing.
If Mace’s description of singing in the Minster is accurate, then the chorus verses were to be sung by
the congregation. A chorus alone singing these verses would not be wrong and certainly very
practical, yet originally the metrical tunes were designed for congregational or private singing at
various octaves. Again, the alternate source of Psalm 22 provides another option: it omits the
common tune verses entirely, leaving a more traditional Jacobean verse anthem structure with
contrast between soloists and chorus. Ultimately, the performance should be spirited, particularly if
considered with Mace’s description of the Minster in mind, and reflect the circumstances for which
the psalms were intended.
59
David Wulstan, ‘The Problem of Pitch in Sixteenth-Century English Vocal Music’, Proceedings of the Royal Musical
Association, 93 (1967), 97–111.
60
Ian Spink, Restoration Cathedral Music, 1660–1714 (Oxford, 1995), 60.
xiv
Tempo
Only one time signature for solo and chorus verses is used, C. In the solo verses, the minim pulse
should be defined by the tactus (minim = c.60), though the speed should also relate to the mood of
the text, ‘sometimes Faster, and sometimes Slower, as we perceive, the Nature of the Thing
Requires’.61 There is no information about the speeds that metrical psalms were sung: often a cantor
would sing a line and then the congregation would follow (‘lining out’),62 and the speed would vary
depending if the congregation was supported by choir or instruments (it seems likely that these
psalms were led by both). The use of minims and semibreves used by Lawes was a standard
notational practice based on the first sixteenth century psalters, though it was not until after the
Restoration that these note values were related to a tempo, where ‘one semibrief is two minims, or
four pulses’63 (minim = c.120). A speed of semibreve = c.60 relates to the tempo of the preceding
solo passages, is a speed to which trained cathedral choirs of the seventeenth century may have tried
to lead the congregation and modern congregations are accustomed to sing, and reflects the possible
spirited circumstances of the psalms’ first performance.
Accompaniment
A simple 8′ organ registration should be reserved for the solo sections, and depending on the context
of performance, a louder accompaniment could be provided for the common tune verses. Wind or
string instruments could also be used in these congregational verses. Mace mentions that the York
Minster organ cost ‘(as I am credibly informed) one thousand pounds’. He is referring to the new
organ completed by Robert Dallam in 1634, ‘possibly the largest, but certainly the most sumptious,
organ in England at the time’,64 which was pulled down in 1646. Other instrumental resources were
in use during this period: York Minster accounts show that a viol consort was purchased in 1618 and
repairs were continued up to at least 1640 (though they may not have been used in the Minster)65 and
the York Waits were being paid to play in services up to 1639, and they were no doubt involved after
this date.66 Instrumental accompaniment obscured the text and was associated with the High Church
movement: Peter Smart objected to the ‘so strange, ridiculous, and idolatrous gestures, with excessive
noise of Musicall harmony, both instrumentall and vocall, at the same time, as the like was never
used before, in this [Durham], or any other Cathedrall Church…’,67 while Edward Dering drew
attention to the use of instruments in services at the Oxford court.
61
Mace, Musick’s Monument, 81.
See A Directory for the Publique Worship, 84: ‘When many in the congregation cannot read, it is convenient for the
Minister, or some other fit person appointed by him and the Ruling Officers, doe read the Psalme, line by line, before the
singing thereof.’ Henry Mace performed this role in York Minster (see footnote 39 above).
63
Playford, The Whole Book of Psalms (London, 1688), The Preface.
64
Sayer, ‘Robert Dallam’s Organ’, 60–8.
65
See Ian Payne, The Provision and Practice of Sacred Music at Cambridge Colleges and Selected Cathedrals c.1547–
c.1646 (London, 1993), 144.
66
See Griffiths, A Musical Place of the First Quality, 12.
67
Peter Smart, A short treatise of altars, altar-furniture, altar-cringing, and musick of all the quire, singing-men and
62
choristers, when the holy Communion was administered in the cathedrall church of Durham, by prebendaries and pettycanons, in glorious copes embroidered with images. 1629 (London, 1643), 9.
xv
Pronunciation
It is not uncommon for today’s professional performers to adopt an appropriate historical
pronunciation for English music of the seventeenth century and earlier. However, it is a difficult
undertaking. One needs access to very detailed information, since all the sounds need to fit properly
into a phonological set. Otherwise, the effect will be inconsistent and implausible, besides being
difficult to sustain. As with most historical pronunciations, the best course is to treat the text as
a foreign language, and employ a specialist coach.68
Practically speaking, not all pieces are entirely suitable for a historical pronunciation in any case and,
arguably, the Lawes psalms are among them. Firstly, it is much easier for a soloist to sound
convincing with historical English, than it is for an ensemble or choir, where major effort must be
expended in getting the singers to agree on what, exactly, they are aiming for. Secondly, much of
the very fast change that the English language experienced in the course of the so-called ‘Great
Vowel Shift’ had already been completed by the 1620s or so. This means that although the English of
the present texts would certainly not have sounded identical with a modern pronunciation, the
contrasts are not of the same order as for earlier pieces, and, once filtered through the medium of
choral performance, many may not be detectable to an audience. A great deal of effort could, then, be
expended for relatively little impact. Thirdly, the sounds in question are subtle and difficult to
pronounce, and often serve to distract the singers from the music.
Most of all, however, the adoption of any historical pronunciation can be argued to undermine
‘authenticity’ as much as it supports it. Certainly, an early seventeenth-century pronunciation of
Lawes’ texts would reunite the musical patterns with the vowel and consonant sounds that were
originally intended for them. Using a modern pronunciation can often introduce poor rhymes and
failed assonances that would be avoided with a historical one. However, the major purpose of using
English texts for English singers and English listeners was so that the words would be simple to
understand. By imposing a ‘foreign’ historical pronunciation, today’s singers and audience are
deliberately cut off from the immediacy of the words, and, thus, from a major component of the
music as it was intended by the composer. Of course, the incompatibility of these two types of
‘authenticity’ is intractable, which is why performers need to feel free to make either choice,
according to their priorities in performance.
68
For an overview of the patterns in the musical context, see Alison Wray, ‘English Pronunciation c.1500–c.1625’, in
John Morehen, (ed.) English Choral Practice, 1400–1650 (Cambridge, 1996). For a more technical account of specific
problems with the reconstruction of English, see Alison Wray, ‘Singers on the Trail of ‘Authentic’ Early Modern English:
the Puzzling Case of /<:/ and /E:/’ , Transactions of the Philological Society, 97 (1999), 185–211.
xvi
Critical Commentary
Sources
No autograph manuscripts survive. It is likely that the Christ Church source was itself based on a
secondary source of partbooks, as one psalm in Edward Lowe’s copy is incomplete, with the
indication that ‘this verse, or a part, wantinge’ in The Lamentation of a Sinner. Even though the
Durham source may predate Lowe’s copy of Psalm 22, Lowe’s version preserves the psalm in its
original form and has been preferred as the primary source in this edition.
Christ Church, Oxford, Mus. 768–70
Partbooks, late seventeenth century, in the hand of Edward Lowe.
‘Mr Will: Lawes his Psalmes for 1. 2. and 3 partes, to the comon tunes’
768: ‘countertenor’; 769: ‘tenor’; 770: ‘bassus’. All partbooks also include a ‘throughbase’.
Durham Cathedral, Dean and Chapter Library, MS B1
Score, c.1660, of possible Chapel Royal provenance.
Psalm 22 only: pp. 97–107.
Acknowledgements
The editor wishes to express his gratitude for permission to consult these manuscripts to the Dean
and Chapter of Durham Cathedral and the Governing Body of Christ Church, Oxford.
Editorial procedure
1. Prefatory staves show original clefs, keys and time signatures, followed by editorial
nomenclature. The source is inconsistent in its use of ‘verse’ scoring indications, usually
appearing only in solo sections in a part not singing. These indications are retained in the
score, and their occurrence in the partbooks is noted in the commentary.
2. There is no separate continuo partbook; a continuo line is provided in all partbooks, though
is most detailed in the bass. Often the bass vocal part and continuo share the same stave, or
the continuo doubles the lowest vocal line. The continuo line common to most partbooks is
used without comment, though if one partbook is preferred (for instance if there is an
alternative lower continuo reading or the rhythm is simplified), this is used and recorded in
the commentary. When the bass and continuo share a stave, fermatas or slurs are sometimes
used to indicate when the bass is not singing. These are not included in the score but are
recorded in the commentary.
3. Original time signatures have been retained. Notation, such as notes tied across bars, has
been standardized in accordance with modern practice.
4. In the verse sections, barring has been regularized. Original double bars have been retained.
In final bars, if there is a fermata in one part, it is included in the other parts and noted in
the commentary. There are two instances of signs resembling a modern repeat barline, which
are more likely to indicate the final section of the work: these are not retained but are
mentioned in the commentary. In the chorus sections, the original notation and barring have
been preserved.
5. Notes in small type are editorial and recorded in the commentary. In the source, typically
quavers are beamed together for melismas and separately for single syllables: in the score they
have been beamed according to modern use.
xvii
Extra accidentals in the source, that are redundant according to modern musical convention,
are tacitly omitted. Precautionary accidentals are given in brackets. Accidentals above the
note are editorial suggestions.
7. Spelling has been modernized. The punctuation of Sternhold and Hopkins’ metrical setting
has been retained. Unclear underlay and words omitted in the source appear in italics.
Variants between vocal parts and significant deviations from the metrical text are noted in
the commentary. The indications for the text of the final reprise of the common tune are
consistent; directions in the source are included in the score, and editorial decisions are
noted in the commentary.
8. In Psalm 22, the alternate endings to sections in the Durham source are included above the
score. Such variants are not included in the commentary.
6.
Editorial Commentary
All variants refer to the Christ Church source, except in Psalm 22 where variants refer to Christ
Church unless the part is preceded by ‘D’ to distinguish a variant in the Durham source.
Abbreviations have been adopted to correspond to the nomenclature used in the score:
T1: Mus. 768; T2: 769; B: 770; bc (T1) refers to the continuo in T1
Common tune references and information (including first appearance in a printed source) are based
on their entries in Nicholas Temperley, The Hymn-Tune Index: A Census of English-Language
Hymn Tunes in Printed Sources from 1535 to 1820 (Oxford, 1998).
Numbers refer to bar and superscript numbers to the beat within the bar
Note pitches are given according to the Helmholtz system: C c c´ c´´ etc.; c´ = middle C
Abbreviations:
br
breve
cr
crotchet
r
rest
sb
q
~
semibreve
quaver
tie
m
m.
|
minim
dotted minim
barline
Psalm 6
Source:
768: 3v–4 r, ‘Psal 6’; 769: 1 r – v, ‘Psal 6. 3 voc: Tenor’; 770: 3 v –4 r, ‘3 voc: Psal 6’
Common tune: 271a (Damon, 1591, but not used in association with Psalm 6 until Playford, 1661)
1
12
13
bc (B)
T1
16–17
203
31
35
bc (T2)
bc (T2)
T2
T1, T2
B, bc (B)
T2
62
vocal line only till 233
‘Cho: Comon tune Lord in thy wrath’
change of key signature in T1 only:
E flat consistently added in T2 and B
m | cr (no tie)
E and e (no accidental)
q-q-m
‘verse’
change of key signature to 2 flats
change of key signature to 2 flats
xviii
bc (B)
68
bc
3–4
70
bc
78–9 bc (B)
80
T1, bc (T1)
m-m
as in bc (T1)
as in bc (T1)
br
sb only, no fermata
Psalm 18
Source: 768: 6 v –7 r , ‘a3 voc: Psal 18’; 769: 4 r –4 v, ‘a3 voc: Psal 18’; 770: 5 v –6 r, Psal 18. a 3 voc’
Common tune: 159a (Geneva, 1561)
1
264
38–9
4
39
44
461–2
462
2
47–8
50–69
50
511–2
57
633–42
643
681
3
68 –9
70
78
90–1
91
2
93
94
T2
bc (B)
bc (T2)
T2
bc
bc (T1)
T2, bc (T2)
bc
B
B
bc
bc
bc (T1)
T2
T2
bc
T1, T2
bc (T1, B)
B
T1
T2
T2
96
T2
96–7 bc (T1)
993
bc (T2)
102
B
‘verse’
e (no accidental)
cr. - q - m - m
e (no accidental)
as in bc (T1 and B)
cr. - cr
e (no accidental)
as in bc (T2)
vocal line only
‘verse’
as in (bc) T2
as in (bc) T2
m | cr -cr; from final q also gives B: g qu | a cr. - b flat - c´ m
e´ (no accidental)
e (no accidental)
as in (bc) T2
‘verse base’
as in (bc) T2
repeat bars between sections
‘& on the winges &c for 3’
f´ (no accidental)
underlay:
q-q-q-q
(fly) - ing
changed to correspond with T1; see also B (88, 95), T1 (95),T2 (96)
e´ (no accidental)
m-m-m
E (no accidental)
no directions for common tune
Psalm 22
Sources:
768: 9r–11 r; 769: 7v–10 r; 770: 8 r –10 r
D: 97–107
p 97: ‘O God my God psalme 22nd. Mr William Lawes’
p 107: ‘22nd psalme. First, second and thrird [sic] parts by Mr William Lawes’
Common tune: 113b (Damon, 1579) though only one note variation from 113a (Geneva, 1558)
xix
The underlay, actual and editorial, is drawn on 768–770, although it is largely realised in D.
Only variants between the underlay of the two sources are noted below.
Part 1
768: ‘1st part of the 22th psal: 2 voc.’; 769: ‘1st part of the 22th psal: 2 voc.’; 770: ‘Psal
22th: 1st part 2 voc.’
1
19
23
51
66
D
bc (T1)
D: T1, T2, bc
D
769, D: T2
D: all parts
no time signature
sb
‘cho’
no double bar
cr r - b cr - d´ m
br and double bar, no fermata
Part 2
768: ‘1d part of 22th Psalme. a 3 voc.’; 769: ‘2d part 22th psal: a 3 voc.’; 770: ‘2d part 22
psal.’
1–28
bc (B)
35
D: bc
41
D
42
bc (B)
50
bc
631
bc (T2)
641
D: bc
65
D: bc
3
70 –71 D: T2
83
bc (T1)
89
D: all parts
90
T1
bc (B)
included at the end of Part 2 (9r), with the note: ‘This throughbas
followinge is to the beginning of this 2d part before the Base comes
in’
a cr
underlay, with full metrical text:
cr | qu - qu - qu - qu - cr - cr | qu - qu - qu - qu - cr - cr | sb
gree-di- - ly - as though they - would - me slay
a sb
double bar
fermata
as in bc (T1, T2); vocal line only in B and D
A and a
g (no accidental)
m-m
em|dm
g (no accidental)
br
‘verse’
fermata
Common tune
only verse 21 (Therefore I pray thee) indicated
4
19
D: bc
4
32 –5 D: B
Part 3
768: ‘3d part: 22th Psal: 3 voc.’; 769: ‘3rd Part 22th psal: 3 voc.’; 770: ‘3d part 22 Psal’
33
8
D: B
D: bc
g sharp
g´ m – g´ m
xx
102
D: B
f ´ sharp qu – g´ qu
- rence
2
19
T1, D: T1
c´ sharp
21
D: B
E sb
331-3 D: T1, B
qu - qu - m
in - dea - vour
334
T1, D: T1
e´
33–6 all parts: bc
C4 clef, with precautionary accidentals in 768, 770 and D
2
D: B
fermatas
38
39
D: all parts
‘cho’
42
bc (T1)
m-m
bc (B)
fermata
48
bc (T2)
E and e
51–2 768–9, D: T1, T2
c´ sharp (no accidental)
56
bc (B)
fermata on both notes
56–9 bc (T2)
follows vocal line, then 59: A m – d m
661
D: B
B
73
T1, T2, B
Indication for ‘Cho: My seed shall’, though repetition of previous
verse (‘And all that shall go down to dust’) required to complete the
reprise of the common tune.
Psalm 51
Source:
768: 4 v – 6r; 769: 2 r – 2 v; 770: 4 v – 5r
Common tune: 93a (Geneva, 1557)
Part 1
768: ‘first part of 51 Psalme’; 770: 1st part 51 psal.’
174
264
T1
T1
b flat (no accidental)
b flat (no accidental)
Part 2
768: ‘3 voc: 2d pt of the 51 psalme’; 769: A 3 voc: psal. 51. 2d part’; 770: ‘2d pt of the 51
psal:’
1–19
61-3
12
12
24–30
B
bc
bc
T2
bc
32
B
2
32–3 bc
1
bc (B)
37
37
T1
383–402bc
1
bc (B)
45
vocal line only
as in bc (T2); bc (T1): cr - cr - cr
as in bc (T2); bc (T1)s follow B
‘spirit and grace’
as in bc (T1 and T2); but 27 and 30 as in bc (T2); bc (T1) and (B)
follow B
‘verse’
as in bc (T1 and T2)
fermata
‘and then my lips shall’
as in bc (T2); bc (T1 and B) follow B
missing first 2 beats (A m)
xxi
641
65
664
68–9
76
bc (B)
B
bc
all parts
B
fermata
‘mercy’
as in bc (T1); bc (T2 and B) follow B
double bars
sb and fermata
‘Cho: Thou shalt accept’: verse 19, and the Doxology completes the
reprise of the common tune.
Psalm 67
Source: 769: 3r–v, ‘Psal: 67. for a Tenor alone’; 770: 2 r, ‘Psal: 67. for a Tenor alone’
Common tune: 269a (Cosyn, 1585)
1
B
‘verse’
Psalm 100
v
r
v
r
Source: 768: 2 –3 , ‘A 2. voc. Psalme 100’; 770: 2 –3 (T2 and bc), ‘A 2 voc: Psal. 100’
Common tune: 143a (French, Psalm 134)
4–5
6
9
19
bc (T1)
bc (B)
bc (T1)
bc (B)
follows rhythm of T2
d m - g cr - c cr (consecutive octaves with T1)
follows rhythm of T2
m-m
The Lamentation
r v
r v
Source: 768: 1 – , ‘a 2 voc: The Lamentation’; 770: 1 – , ‘2 voc: The Lamentation’
Common tune: 184a (1563) (usually in D minor)
1
24–5
31-2
363
1
42
471
B
bc
T
B
bc (B)
bc (T1)
‘Songe’
follows bc (T)
metrical text: ‘with speed their just desire’
g cr
f (no accidental; f in bc (T))
c sharp
The Humble Suite of a Sinner
Source: 768: 7 v –9 r, ‘The Humble Suite of a Sinner. a 3 voc.’; 769: 5 r –6 r, ‘a. 3 voc: the Humble
Suite of a Sinner’; 770: 6 v –7r, ‘The Humble Suite of a Sinner. a 3 voc.’
Common tune: 170a (1562)
1
10
124
13
22
32–5
bc (B)
bc
bc
T1
bc (B)
fermata
T2, B: natural; T1: no accidental
follows bc (T2)
‘verse’
bracket above notes indicating bass voice silent
xxii
38
bc
39
bc (T1)
3
1
39 –40 bc (B)
2
bc (T2)
43
48
bc
61
bc
68
T1, bc (T1)
934
T1
94
T1, bc (T1)
follows bc (T2)
c sb only
fermatas
g natural (no accidental)
follows bc (T2); bc T1: m - cr - cr
follows bc (T2)
br
e´
sb, no fermata
The Lamentation of a Sinner
v
r
v
r
Source: 768: 8 –9 , ‘The lamentation of a Sinner’; 769: 6 –7 , ‘The Lamentation of a Sinner. a 3
r
v
voc:’;770: 7 –8 , ‘The Lamentation of a Sinner. a 3 voc:’
A fourth part is lacking. Edward Lowe comments on the cover of 770 that ´A whole verse left out in
the Lamentation of a Sinner, ther[e] beinge a Throughbase, but neither of the 3 partes singinge to it.
I suppose the songe therefore to bee 4 partes. If soe the 4th part is wantinge´. It is reconstructed by
the editor as a soprano part.
bc (B)
18–19 bc
25
T1
T2
bc (B)
74
all parts
follows vocal part
T2: sb - m
‘verse & feareth to bee beate’
‘verse wantinge endinge Men’
‘This verse, or a part, wantinge’
repeat bars
1. Psalm 6: Lord in thy wrath reprove me not
Countertenor
BbC ˙
I
Tenor
BbC ˙
Tenor
II
Bass
?b C ˙
?b C
Bass
Throughbase
6
˙
Basso
Continuo
œ
b
V œ C ˙.
Lord
œ
C
œ
bœ
?
C Ó
b
œ
Lord
?
˙
œ œ œ #œ .
Vb ‰ J
∑
?b Ó
Vb
b
∑
For I am
? b
b ˙
Œ œ œ #œ
For I
˙
am
˙
∑
∑
Lord,
nœ
˙.
w
O
œ
œ œ ˙
there
-
fore O Lord,
œ
œ
fore O
œ œ
there - fore O
˙
© Copyright 2002 by York Early Music Press
Psalm 6 - 1
˙
œ
I de - serve thine ire:
œ ˙
œ # œ œ . œj w
˙.
œ
˙.
œ
bb
w
bb
œ œ
˙
me for - bear:
œ . # œj ˙
œ œ œ
mer - cy
me
œ
J
mer - cy
œ œ œ
w
de - sire.
mer - cy
œ œ.
bb
∑
œ
œ nœ œ
of
bb
I thee de - sire.
thee
Lord, of
œ
œ
œ œ
I
Lord, of
œ
œ ˙
∑
œ
Lord
œ œ
˙.
Ó
though
Lord
œ
œ œ
∑
˙
am weak,
œ
O
œ b˙ .
-
∑
˙.
Œ œ b˙ .
O
de - serve thine ire:
˙.
Œ œ ˙
∑
˙
œ œ ˙
∑
˙
I thee,
there
w
though I
œ
J ˙
œ œ ˙
rage,
weak,
weak,
˙.
œ œ œ œ
O Lord
˙
Ó
For I
œ.
Œ nœ
œ œ œ
Œ
∑
œ œ œ œ
Œ œ ˙
œ œ #˙ .
Œ œ œ œ
˙
œ
in thy rage,
œ œ n˙
˙
in thy wrath re - prove me not,
˙
Nor yet cor - rect me in thy
∑
œ
œ œ œ nœ . œ œ œ
#˙
J
‰ J
b
V b Œ œ œ #œ
? b
b
me
∑
˙
˙
œ #œ
re - prove me not,
∑
∑
? b ˙.
13
C
œ œ œ
J
Nor yet cor-rect
Vb
in thy wrath
Vb
b
œ
˙.
œ œ
œ œ
for-bear:
˙
me for - bear:
˙
˙
2
19
Vb
b
∑
∑
b
Vb Œ
? b Ó
b
œ
J
œ #œ .
My soul
is
Œ
Vb
Vb
b œ
b
long wilt
V
? bb
˙
sore,
and
˙.
œ
sore,
and
˙.
œ
œ
œ
˙
thou de - lay,
to
œ nœ . œ
J
cure my
˙
vex - ed
œ
∑
∑
œ
J ˙
vex - ed
œ œ ˙
long
wilt
œ
thou
? b
b œ
-
œ
thou
j
nœ #œ œ
œ œ œ.
de
œ
lay,
to cure my
mi
œ
œ œ #˙
œ
-
lay,
-
#œ
˙
˙
to
œ
œ
#œ
˙.
to
cure
to
œ
˙
œ
cure
œ œ ˙
my
œ
œ
˙.
But
Lord
how
˙.
my
mi
-
˙
#˙
-
˙
mi
-
œ œ ˙
˙
how
j
œ ˙
œ
˙.
œ
mi
Lord
long
œ
œ
J
wilt thou
˙.
how
œ œ
cure my
long
œ
˙.
œ œ
œ.
œ
œ.
œ
but
œ
Lord
œ
œ
˙
se - ry,
œ
Œ
how
œ
˙
œ
˙.
œ
œ
J
Ó
ly:
But Lord,
˙.
˙
œ
de - lay,
œ
œ œ #˙
de
œ
œ
-
Œ œ ˙
Œ
Ó
w
œ.
But Lord
˙
œ
vehe - ment
œ
Ó
Ó
∑
w
œ
œ
œ
œ
J
œ
vehe - ment - ly:
mi - se - ry,
∑
∑
b œ
bb
ve - ry
Œ
œ.
œ
œ
But
? bb œ .
Vb
œ
œ œ
J
∑
? b
b
30
˙.
is trou-bled ve - ry
œ.
œ
œ œ
œ œ
œ œ
J
œ
soul
œ
œ
˙
œ.
My
œ
n
trou - bled
œ
? b ˙.
b
24
œ
∑
∑
wilt
œ
w
se
-
ry?
w
se
˙
-
ry?
se
-
w
˙
ry?
w
Chorus: Lord turn thee [to thy wanted grace]
b
&b C w
&b
b
&b C
w
w
? bC
b
Lord
b w
w.
˙
O
save
? bb
w
w.
˙
me
˙
˙
˙
turn thee
˙
˙
not
˙
˙
for
˙
˙
˙
to
˙
my
˙
˙
thy
˙
˙
˙
won - ted grace,
˙
˙
#w
de - serts,
˙
w
Psalm 6 - 2
˙
w
˙ #w
˙
my
w
˙
w
˙
but
for
˙
soul
˙
˙
˙
thy
˙
˙
fee - ble
w
w
˙
˙
up
˙
˙
mer - cy's
˙
˙
w
take:
w
U
w
sake.
w
u
? b C ‰ œJ # œ œ œ œ
b
œ œ
‰ œ #œ
J
35
B
? bC
b ˙
For why? No man a - mong the
œ
? b ˙
b
Lord
œ
? b Ó
b
Œ
œ
#˙
grie
œ
˙.
-
#˙
my
? bb œ
œ #˙
com - plaint,
œ
œ
the
in
œ nœ œ œ
˙.
œ
˙.
œ
and
moan,
that
I
wax
œ
#œ
œ
vious is my
œ nœ œ œ
œ
œ
I
#˙
in
˙
plaint
˙.
œ
˙.
tears,
I
#œ
#˙ .
œ œ œ
˙.
œ œ œ
˙.
My
? bb C w
b
&b w
For
? bb w
˙
sight
˙
w.
fear
w.
˙
˙
˙
is
dim
and
˙
˙
˙
˙
˙
˙
of those that
˙
˙
˙
˙
˙ #w
˙
˙
wax - eth
˙
˙
œ
œ
œ.
of
my
œ.
œ
with
w
w
#w
foes,
˙
˙
w
nal
w
œ
#œ
Psalm 6 - 3
œ
faint,
All
˙
˙
œ. œ
J
w
˙
˙
w
of
my
heart,
˙
˙
˙
my
˙
˙
my com - plaint.
˙
soul
˙
˙
˙
w
U
w
sub - vert.
˙
œ
˙.
w
œ œ
an - guish
˙
˙.
œ. œ
J
of
œ n˙
J
would
j
œ
œ œ
com - plaint,
and
œ.
won - drous
Œ œ œ nœ
œ n˙
J
˙
j
œ
of my com - plaint,
˙
˙
œ.
Œ œ œ nœ
˙
w
w
pit?
w
˙
old,
my
-
#
œ œ œ
w
be
œ
fer
w
œ
wash my bed, with tears,
Chorus: My sight [is dim and waxeth old]
b
&b C w
-
˙.
#
œ œ œ
œ
#œ
wash my bed,with tears,
œ
œ
œ
#˙ .
wash my bed, with
œ
œ
˙
œ œ œ œ œ
œ
? bb œ
œ
˙
˙
? bb œ œ œ ˙
I
œ
˙
Œ
œ œ œ œ œ
œ
the day long
˙
˙
Or who shall wor-ship thee O
j
œ ˙
? bb œ œ œ ˙
50
thee one whit:
œ.
˙
So
56
˙
˙
‰ Jœ œ œ # œ œ œ œ
˙
œ
#œ
re - mem-breth
In the in - fer - nal pit,
? bb œ
? bb
dead,
œ
‰ œj œ œ
39
44
˙
œ
w
u
Œ
œ
of
Œ œ
3
4
b
Vb C Œ œ
62
I
T.
II
b
Vb C Ó
œ œ #œ nœ
But now a - way from
Vb
œ œ
J
why?
V
œ
œ.
œ
heard
Lord hath
? bb œ
Vb
V
œ
œ
œ
J
on - ly
the
voice, of
œ
J
b œ œ œ
œ #œ
bb
œ
quest,
pra - yer
œ
œ
œ
and
œ
œ
and
? b ˙.
b
œ
pra - yer
œ
b
Vb Œ
œ
ye, that
œ
œ œ
work i - ni - qui - ty:
all
ye,
that
work i - ni - qui - ty: For why? The
took it in good
œ
took it in good part, and
œ
œ
all
ye,
œ
œ
œ
œ.
œ
J
œ
œ
j
œ. œ ˙.
heart: But
of
my
heart:
œ œœ œ
Nœ
took it in good
œ
? bb C w
And
&b
b w
? bb
And
w
˙
˙
the
foes
w.
˙
now
w.
sud
˙
-
˙
˙
˙
that
˙
˙
˙
den - ly
˙
˙
˙
˙
˙
˙
˙
con - found
˙
˙
˙
œ
He
œ
J
heard
œ
œ
all,
w
Psalm 6 - 4
not
œ œ œ
#œ nœ
J
not on - ly the re -
œ œ œ
#œ nœ
œ œ œ œ
it
at
the
Lord
˙
w
˙
to
their
˙
˙
œ
œ.
j
œ
it
in
good
#˙
in
good
w
U
W
U
W
part.
part.
W
u
˙
˙
will
˙
soon
˙
de - fame:
˙
˙
˙
˙
œ
my hands, and
n˙
took
˙
j
#œ œ
œ.
œ
w
w
heard
hands,
w
#w
He
my
re - cei - ved
œ
J
œ
J
at
took it in good part, and took it
w
œ.
˙
œ œ œ œ #œ œ œ œ ˙
w
œ
œ
œ œ œ œ
For
˙
œ
˙
part, and
me,
them
œ.
Œ œ
re - cei - ved
œ Nœ
#w
vex - ed
it
˙
œ
œ œ œ œ
œ
œ œœ œ
part, and
œ
J ˙
œ œ nœ .
But
˙.
w
˙
˙
cry.
˙
Chorus: And now the foes [that vexed me]
b
&b C w
and
œ
took it in good part, and
? bb w
˙
œ
my
œ
œ œ ˙
my com - plaint and cry.
œ
J
Œ œ
œ œ œ . œj œ œ œ .
œ
œ.
œ
of
˙
œ
œ
œ œ
œ
œ. œ
J
œ
œ œ œ œ #œ
b
V b œ œ œ œ #œ
all
my com-plaint
œ
re-quest, and
˙.
76
now a-way from me
the voice, of
œ œ
œ.
the
œ.
œ
œ
J
heard
œ œ œ. œ ˙
J
œ
œ œ œ
œ.
œ
œ
now a-way fromme
The Lord hath
œ
bb
71
but
œ
b œ.
œ œ œ œ
œ œ œ œ œ
But
? bCw
b
67
me,
œ
Œ
œ
#œ
re - buke
˙
˙
˙
and
˙
w
w
U
w
shame.
w
u
5
2. Psalm 18: O God, my strength and fortitude
Countertenor
BbC œ
I
Vb
II
Vb
Tenor
BbC ˙
Tenor
? Cœ
b
?b
Bass
Bass
? C˙
b
?
Throughbase
6
T. II
Basso
Continuo
Vb w
love:
My God,
w
j
œ œ œ.
My
24
Vb œ
?b
When
re-fuge,
II
? b b˙
buck
œ œ œ
œ
I
sing laud
j
œ œ.
V b œ œ œ œ #˙
Vb
œ.
un
-
j œ
œ
ler, and
œ œ b˙
œ #œ
-
j
œ
œ
to
œ
my
˙
˙.
most wor - thy
bœ
Œ N œ b œ œ œ œ œ . œj ˙
right sure,
∑
œ . œj n ˙
that I
∑
shall
be
∑
˙
˙
˙
Psalm 18 - 1
˙.
ker
˙
of
w
my
wealth:
w
˙
of
all my
œ œ œ.
œ
œ
Then from my foes
˙
œ
œ œ ˙
pains of
œ
health.
w
be serv'd,
œ œ
w
w
The pains
The
˙
˙
w
œ œ
œ . Jœ
œ ˙
J
Œ œ ˙
pre-serv'd.
-
œ
to
œ œ ˙
#œ œ ˙
horn
œ.
œ
œ œ œ
œ
n˙ .
Œ Nœ œ bœ œ
˙
wor
the
w
œ
œ b˙
Œ
∑
ne - ces - si - ty.
˙
the
I must thee
œ œ . j
œ œ w
œ . bœ œ œ
J
shield,
the Lord,
my
Œ œ
w
˙
in
˙.
˙
œ ˙
J
˙.
œ œ ˙
de - fence,
in whom I trust,
œ
œ œ œ œ
force
∑
˙.
˙
œ
b˙
of
∑
Nœ b˙
∑
œ ˙
Œ
∑
‰ œj œ œ b ˙
bœ .
w
strength and for - ti - tude,
and
œ
J
∑
∑
œ œ . Jœ
œ
œ
œ
˙
my rock
œ
œ.
am
œ
œ
29
T.
œ œ.
J
?b w
?b .
˙
I
œ.
Œ
Vb Œ
T. I
œ œ œ
œ #˙
∑
œ #œ
œ
Vb Œ
18
C˙
b
Thou art my cas - tle
?b w
12
œ
∑
C
œ
Verse
œ
C˙
œ œ
œ
O
God, my
bœ
C
∑
œ
of
˙.
death
˙.
œ
œ
death
œ
did
œ
œ
J
I
œ
œ.
œ
œ
J
did com - pass
b˙ .
com
b˙ .
-
œ
pass
œ
6
35
Vb œ
œ #œ
me, and bound me
Vb œ
œ.
œ
me, and bound
˙
œ
J
œ
J
œ
œ
œ
˙
ing
-
45
Vb Œ
V b ˙.
waves
ing
œ.
œ
#œ
œ œ
-
Vb œ œ œ œ œ œ œ
?b w
of
nœ #œ .
waves
of
œ
œ
did
put
me
in
œ
œ.
j
bœ œ
œ.
bœ œ
J
did
? b ˙.
œ
œ
great
put
in
˙
œ
Œ
œ œ œ
Œ
œ
˙.
did
œ
great
fear,
œ
˙.
œ œ
did
#œ
put
˙
bœ nœ
˙
œ
œ
did
put
œ bœ nœ
me
œ
œ
w
me
in
great
fear.
œ.
me
in
j
œ
w
great
fear.
˙
œ
in
w
Chorus: The sly and [subtle snares of death]
&b w
The
?b w
&b w
And
?b w
˙
sly
˙
˙
and
˙
˙
˙
˙
sub - tle snares of
˙
˙
˙
˙
˙
˙
˙
for
my
life
there
was
˙
˙
˙
˙
˙
hell
were
˙.
w
w
˙
˙
#w
w
w
w
pre - par'd
˙
a
Psalm 18 - 2
˙
˙
w
w
round
œ
a - bout
˙
˙
dead -
˙
˙
˙
˙
ly
b˙
˙
w
me
set:
w
˙
w
#˙
trap - ping
w
great
œ bœ nœ
œ
œ
-
great fear,
œ
œ
œ
flow
œ
in
œ
˙.
put
œ œ bœ œ
the
Œ
œ
ing waves,
œ
did put me
Ó
˙
-
ing waves,
w
fear,
me
œ
J
œ.
-
wick - ed - ness
˙
œ
Œ
œ
w
flow
˙
flow
œ
J
the
œ œ œ œ
the
w
˙
œ
waves,
œ
œ
J
Œ œ œ œ œ œ œ b˙
wick - ed - ness
˙
fear,
Œ
˙.
œ
œ œ œ #œ œ
Vb Œ œ œ œ
flow
flow - ing
ev' - ry - where:
40
the
the
Ó
˙
œ
˙
Œ œ œ œ œ œ œ
ev' - ry where:
me
œ.
?b ˙
œ #œ
œ
w
net.
w
7
&b w
?b
I
˙
˙
thus
˙
be
˙
˙
w
&b w
?
And
Vbc
œ
Verse
Such
Vbc œ
w
˙
˙
˙
˙
˙
with
pain
˙
and
grief,
did
pray
to
God
for
˙
w
w
˙
˙
˙
˙
w
w
˙
˙
heard
my
com
plaint
out
of
his
set
is his pow'r that in his
œ
˙
œ œ œ
b œ.
‰ œ œ œ
J
˙
œ œ
Œ
wrath,
‰ œj œ œ
œ œ œ
of the mount of
#œ œ
the foun-da - tions
œ
œ œ
the foun-da - tions
˙
Œ
œ
made
œ
œ
œ
Œ
œ
Ba - san
˙
Œ
w
kin - dled
was
his ire:
came a
œ.
when
kin - dled
was
his ire:
œ
a
˙
˙
œ
œ
œ œ
J
œ
œ
œ
œ
smoke, whenkin - dled
œ œ œ.
the
earth
œ
J œ œ
the earth to
œ œ
œ
J
to
ho - ly
œ
shake,
And
w
œ
for
to
shake,
˙
Psalm 18 - 3
And
#œ
Yea,
#˙
Yea,
Ó
˙
Yea,
Ó
˙
œ œ œ
œ
from his nos - trils
œ œ œ
œ
from his nos - trils
œ œ œ.
œ.
And from his nos
w
˙
œ
œ œ œ.
œ
J
And
from his mouth
came
œ
œ œ
And from his
œ
œ œ
˙
from his
And
˙
˙
Ó
w
to
was his ire:
Ó
quake,
˙
Ó
w
u
w
for
œ. œ ˙
J
place.
quake,
˙
Ó
U
w
w
œ
#w
w
quake,
shake,
to
grace:
#w
bœ
for
#w
w
w
œ. œ ˙
J
˙
earth to
b˙
˙ #˙
œ
œ. œ ˙
J
when
came
? b ˙.
œ.
Œ b˙
œ
œ œ
œ
œ
came a smoke,
smoke,
the
made
he
Ba - san
œ œ œ
of the Mount of
œ œ ˙
˙
Vb Œ œ œ
he
œ
œ
˙ b˙
œ œ œ œ œ
made
Ba - san
˙
œ bœ
J
œ
œ
œ œ œ
of the Mount of
œ
œb ˙
œ
b
Œ
V
that in his wrath,
˙
˙
w
w
˙
˙
œ
œ œ œ
-
that in his wrath, he
œ
60
?b ˙
˙
his pow'r
V b œ #œ œ œ
?b œ
˙
˙
the foun-da - tions
?b œ
˙
b
œ œ œ œ œ œ
is
Vb œ
w
is his pow'r
? c œ
b
55
˙
œ bœ ˙
? c œ
b
Such
-
b˙
œ œ ˙
Such
˙
forth - with
˙
b w
50
˙
he
˙
˙
bœ
œ
mouth
œ.
˙
œ
J
trils
˙
œ bœ
J
œ
œ œ
J
œ
kin - dled
œ.
-
œ
J
coals,
came kin - dled
mouth came kin - dled
˙
8
65
Vb Œ
œ
Vb ˙
of
?
?
b
˙.
œ œ
˙
The Lord
of
hot con - su - ming
œ œ œb œ
œ œ
de
scend
-
? Œ #œ œ œ œ œ
b
Un - der-neath his
?b
bims
? b #œ
? b œ.
j
œ ˙
#œ
Vb
œ
ing, came
91
I
And
T.
ro - yal - ly
œ œ œ œ
œ
˙.
fly
œ
bœ .
fly
œ
J ˙
œ
œ
w
the
winds
œ #œ
œ
œ
w
?b œ
on
the wings
of
the
winds
?b w
on
B
And
And
œ
œ
œ
the wings
œ
of
œ
the
of
œ
œ
œ
the dark
a - bove,
˙
-
the
the wings
of
œ.
-
˙
œ
œ
œ
œ
œ
sky.
On
˙.
w
œ
j
œ
all
œ
the winds,
bœ .
all
a
œ œ œ# œ
Œ #œ
came
Œ
œ
œ
œ.
came
winds
came
fly
-
˙
Psalm 18 - 4
#
œ œ œ œ
fly
fly
œ œ
J
ing all
˙
œ
a
-
œ
J
˙
˙
œ œ œ œ
Œ œ
œ
w
˙
œ
˙.
w
fire.
che-rubs and on che - ru -
œ œ œ# N œ
œ œ œ œ
ing
˙
#
œ
œ
œ
œ
œ œ
˙
-
˙
˙
œ
-
fire.
hea - vens high:
˙
œ
ming
#œ .
œ
#œ
ming
˙
œ œ
and bow'd the
#œ
˙.
w
œ
-
con - su
œ
œ #œ
˙
œ
j w
œ œ. œ
œ œ œ
-
œ
˙
ness of
con - su - ming fire.
of hot con - su
Œ
˙
œœ w
on
bœ œ œ œ #˙
hot
j
œ ˙
#œ œ œ .
hot
œ œ b˙
œ
˙
œ
Vb œ
the wings
ing, came
Œ œ ˙
œ
bœ œ œ œ
œ
of
˙.
œ œ b˙
from
And
˙
œ
-
œ
he rode:
hot,
fire,
œ
of
II
on
˙
#˙
œ
of hot,
Œ œ N˙
feet he cast,
˙.
˙
ed
œ œ #˙
˙
full
w
86
-
œ œ #œ
˙
œ
œ
? b ˙.
81
œ
w
75
? w
b
œ
œœœœ
w
˙
˙
œ #˙
œ
œ
œ
œ
of
hot con - su - ming fire,
˙.
Verse
b
œ œ
œ
coals,
b
˙
of
? Œ
b
?
Œ
œ
Œ
hot con - su-ming fire,
coals,
70
B
œ œ
#œ œ
came
fly
-
œ ˙
J
w
-
broad.
w
j
œ
œ œ œ œ œ.
-
ing all
-
œ œ œ #œ œ œ œ œ
ing
˙.
broad,
w
all
a -
œ
came
a -
9
95
˙.
Vb
broad,
came
? œ œ œ œ œ œ œ œ
b
˙
Vb
?
-
fly
ing
-
˙
Ó
broad,
˙
b
?b
-
ing
œ
œ
fly
all
a - broad,
a
broad,
a - broad,
came
˙
œ
œ
fly
-
came
fly
-
œ
œ
œ œ œ œ
broad, came
b˙
-
fly
-
œ
-
ing
all
ing
all
ing
all
?b C w
The
˙
˙
Lord
&b w
?b
And
?
˙
˙
˙
˙
˙
˙
˙
˙
˙
che - rubs
w
&b w
?b
˙
And
w
˙
on
˙
˙
and
˙
˙
a
-
˙
w
˙
˙
˙
feet
un - der - neath his
˙
On
˙
˙
˙
˙
˙
˙
˙
˙
w
w
bove,
and
˙.
w
he
on
˙
˙
w
#w
cast
the
w
w
che - ru - bims
U
W
j
œ
U
W
-
broad.
U
W
a - broad.
W
u
˙
˙
bow'd
the
˙
˙
w
˙
˙
˙
˙
b˙
w
˙
˙
˙
˙
˙
w
˙
˙
w
w
˙
the
wings
of
˙
all
the
winds
came
w
fly - ing
˙
w
Psalm 18 - 5
˙
b˙
˙
w
hea - vens
˙
˙
all
w
w
#˙
the
w
˙
high:
w
of
ro - yal - ly
˙
˙
˙
dark - ness
w
full
w
˙
œ
came
a - broad.
a
˙
˙
œ
œ
˙
b˙
œ
w
de - scen - ded from
˙
w
& w
˙
˙
˙
œ
j
œ
œ œ œ #œ .
˙.
œ
all
a - broad,
œ
Chorus: The Lord descended [from above]
&bC w
all
˙
œ.
came
œ œœœ œ
fly - ing
ing
œ
Œ
œ
j
œ œ
came
œ.
fly
œ
œ
œ œ œ
œ
w
Ó
˙
Œ
˙
came
#œ
-
œ
ing
œ
œ œ
Œ
a
-
œ œ Nœ bœ œ œ
a - broad,
all
œ
ing all
˙
œ œ œ œ
fly
œ
ing all
-
all
œ œ #œ œ
fly
œ
œ œ œ œ
˙
w
99
Vb
came
fly
œ bœ œ œ
bœ œ œ œ œ
œ
broad,
?b
œ
Œ
Vb w
sky.
w
˙
#w
b˙
he
#˙
a
rode:
w
U
w
-
broad.
w
u
a -
10
3. Psalm 22, part 1: O God my God
B ## C ˙ .
# œ
V # œ CÓ ˙
Countertenor
I
# œ
V #œ C
Tenor
B ## C ˙ .
Tenor
II
? ## C
? ##
Throughbase
6
Basso
Continuo
#
V # ˙
ly:
And
#
V #
? ##
help-est not
#
V #
? ## ˙ .
V
œ
Ó
V
˙
Cho[rus]
˙
I
Source D
##
? ##
œ œ œ œ . œj
U
w
œ œ
˙
Ó
all,
˙
hear - est not at
Source D
˙
U
w
Œ
Œ
˙
I do both cry and
call:
all,
œ
˙.
œ
I
∑
Ó
w
˙
∑
∑
œ
œ œ œ œ
I
cease not all the
œ œ œ œ
night, and yet thou
œ œ œ œ
œ œ œ œ
œ œ ˙
œ œ œ
#œ
œ œ
œ
œ œ œ
œ
œ ˙
œ
œ œ œ œ
œ
œ œ œ
œ
œ ˙
œ œ œ œ œ
œ
night, and yet thou
night, and yet
Psalm 22, part 1 - 1
˙
To
œ
cease not all the
˙
and cry.
#˙
œ
∑
œ w
J
˙
cease not all the
I
com-plaint
œ œ ˙
˙.
ut - ter -
#œ œ
∑
‰ œj œ œ œ œ
sake me
œ œ œ.
great
˙.
-
˙
∑
∑
day long,
˙
∑
my
∑
œ œ œ ˙
all
œ œ ˙
œ œ ˙
for
∑
˙
˙
I do make
∑
œ œ œ œ
##
when
œ
∑
thee my God e'en
18
œ
thou
∑
˙
∑
w
where - fore doest
œ œœœœ
j
#œ . œ
œ
œ œ œ œ œ œ ˙.
∑
w
˙.
12
God my God,
∑
Cw
∑
#
V #œ
O
œ
œ œ œ
œ
˙
œ œ œ ˙
˙.
œ
hear
-
est
thou hear-est
œ. œ ˙
J
not at e'er.
#œ . œ ˙
J
not at all.
˙
˙
11
Chorus: Even thou [that in thy sanctuary]
#
w
& #C
˙
E'en
? ## C w
# w
& #
? ##
w
Thou
œ
˙
˙
˙
the
˙
˙
As
˙
in
he
? ## w
## w
And
? ## w
T.
II
V
? ## C w
? ##
˙
w
˙
˙
˙
˙
com - fort
˙
and
ho
˙
˙
w
˙
˙
w
w
and
the
joy,
and
w
w
w
w
old,
˙
˙
˙
whom our
˙
fa - thers
˙
˙
˙
-
˙
˙
w
ly
place
doest
dwell:
˙
˙
˙
˙
˙
glo - ry'of
Is
w
˙
-
ra
-
˙
˙
w
˙
˙
˙
˙
˙ ˙
w
had
all
their
hope
for
e - ver.
w
˙
˙
˙
˙
w
˙
w
w
˙
˙
˙
˙
as
they
put
their
trust
thee,
so
didst
thou
them
de
˙
˙
˙
˙
in
œ.
œ œ œ œ œ
were de - li - ver'd
∑
œ
∑
œ
œ
œ œ
˙
œ œ œ
˙.
œ
they had in
thee,
they
œ
w
œ ˙
J
when
∑
˙.
w
e - ver,
∑
˙.
˙
w
∑
∑
el:
˙
˙
˙
˙
w
w
˙
for the faith
˙.
w
˙
˙
# œ œ œ ˙
V #
V
˙
˙
30
##
w
˙
They
C
w
˙
#
V #CÓ ˙
##
˙
thy sanc - tua - ry,
˙
˙
24
I
in
˙
art
#
& # w
&
˙.
thou that
˙
˙
˙
˙
˙
˙
œ œ
œ
they cal
œ
˙.
#œ
were not
œ
Psalm 22, part 1 - 2
œ. œ
J
œ
œ
∑
put
˙
to
led
∑
˙
on
thy
˙
˙
name:
And
∑
w
˙
w
∑
Ó ˙
shame.
w
li - ver.
w
u
˙
œ #œ . œ
J
-
∑
˙
˙
-
U̇
But
œ œ œ ˙
w
I am now
12
#
V #
36
#
V #œ
? ## ˙
∑
∑
be - come
#
V #
? ## ˙ .
w
# œ œ
V #
-
ple
œ
scorn,
œ
œ
as
œ
œ
they
be
∑
# ˙.
V #
mow,
? ## w
they
they
#
V #
in
˙
œ
˙.
œ
∑
œ
J
˙
Œ œ
the Lord,
His
˙.
œ
walk
in
w
œ.
œ
J
œ œ œ
and
this wise
œ
˙
∑
˙
fa
œ
œ
-
w
the spite they
can.
w
the
way:
Œ
say.
˙
they
say.
Ó
˙
They mock,
œ
∑
˙
œ œ œ œ œ
This
man did glo - ry
˙.
w
˙
They
œ ˙
w
j
œ
œ.
Œ #œ
˙
˙.
they
All
œ
œ
œ
œ
˙
œ.
j
œ
w
˙.
œ
vour and
his
love,
Let
him
œ
w
j
œ œ. œ
∑
this wise
in
on
˙
Ó
j
œ
œ.
ing
œ
w
w
œ
-
whom
œ
œ
œ
˙
Ó
∑
˙.
œ œ œ
∑
˙
me
˙.
heads
œ
out - cast
with all
˙
œ
hold
and
An
˙
Œ œ
the spite,
œ
˙.
nod their
man,
∑
all
-
œ
˙.
œ
˙
nod their heads
œ
a - ny
j
œ ˙
w
57
# .
V # œ
œ
˙
than
∑
œ
œ
∑
œ
œ
œ
j
œ
œ.
∑
˙.
52
Nœ
∑
w
#
V #œ
like
˙
men de - spise
##
more
with
˙
˙
œ
œ
#
œ œ #œ .
˙.
œ
J
œ
w
∑
the peo
47
? ##
worm,
∑
#
V # œ œ œ.
? ##
#˙ .
a
˙
41
V
œ
J
nœ .
œ
∑
∑
Psalm 22, part 1 - 3
w
Let
him re - deem
w
œ
re -
˙
œ
#
V #
Œ
#
V #
˙.
œ
˙.
œ
deem
and
help
˙.
him
62
œ
and
help
w
? ##
œ
˙
him
now
œ
œ
˙.
œ
his
˙
œ
power
now
œ œ
œ
œ œ
œ
hispower
˙.
if
œ
œ.
if
he
˙
U
W
œ
J
#œ
he
U
W
will
prove.
will
œ
prove.
W
u
˙
Chorus: But Lord [out of my mother's womb]
#
& #w
˙
But
Lord out
˙.
? ## w
#
& # w
w
Thou
? ##
&
˙
˙
didst
## w
&
Since
? ## w
˙
˙
˙
˙
˙
˙
w
w
womb,
I
˙
˙
of
my
˙
˙
w
˙
˙
˙
w
˙
still
in
pre - serve
was
? ## w
œ
˙
˙
I
## w
˙
˙
˙
˙
˙
me
˙
com - mit - ted
˙
˙
˙
˙
˙
I
was
in
my
˙
˙
˙
˙
mo - ther's
˙
w
˙
˙
came by
thy
w
˙
re - quest:
˙
˙
w
w
˙
˙
˙
˙
w
hope,
While
I
did
suck
her
breast.
w
w
˙
˙
˙
˙
˙
˙
˙
have
˙
w
˙
w
w
w
˙
˙
˙
w
w
˙
my
birth,
with
thee
to
w
˙
˙
˙
w
˙
˙
˙
˙
U
w
e'er
my
God.
˙
w
u
from
˙
˙
˙
w
w
mo - ther's womb,
˙
˙
w
Psalm 22, part 1 - 4
thou
w
hast been
˙
˙
˙
a - bode,
w
˙
13
14
4. Psalm 22, part 2: O Lord depart not now from me
B ## C w
## œ
CÓ
V
œ
# œ C
V #
œ
œ
? ##
œ C
Countertenor
I
B ## C ˙
Tenor
Tenor
II
? ## C œ
J
Bass
Bass
? ## C ∑
? ##
Throughbase
6
T. I
#
V # œ
Basso
Continuo
#
œ
#
j
œ
œ.
part not now from
? ## w
#
V #Œ
13
? ## w
# œ
V #
18
since
œ œ
I have
∑
∑
˙.
be
œ
œ.
œ
# œ
V #
œ œ ˙
œ œ ˙
bulls so fat
as
bulls
œ
do
œ
my
œ
˙.
∑
∑
∑
#˙ .
me,
œ
˙
that
be
w
œ
in
˙.
Psalm 22, part 2 - 1
Ba
˙.
œ
œ.
j
œ
full
strong
of
-
w
œ
œ.
head:
san
field
œ
J
been
So
œ œ
˙
˙
w
œ
œ
˙
Ó
w
œ œ ˙
they had
w
re - lief.
w
˙
I have none,
w
œ
-
w
œ œ
Since
œ
J
and
œ
de
˙
Œ ˙
w
œ œ ˙
though
œ.
suc - cour
œ
com - pass
˙.
˙.
œ
J
œ
∑
w
œ
œ
œ
J
my help,
∑
w
˙
˙
∑
my wre - tched grief:
˙
œ œ œ œ œ.
œ
œ
œ
˙
w
œ œ # œ . œj
this
˙
Lord
w
w
in
˙
O
∑
me,
œ
œ œ ˙
∑
Œ œ n˙
none to
˙
Ó
˙
Lord,
w
ma - ny
? ## ˙ .
O
w
˙
˙
Cw
? ## w
23
˙
w
fed.
w
Yea
œ œ
œ œ œ œ
? ## Œ
29
B
? ## w
? ##
33
? ##
œ
They
œ
œ
though
li - on
? ## œ .
II
B
as
roar
#
V #
∑
V
œ
œ
I
drop
? ##
But
∑
w
##
œ
œ
I
drop
V
#
V # ˙
but
? ## ˙
-
ing
w
˙
œ
œ
˙
I
drop
˙
down
Œ
œ
œ.
like
wa
œ
œ
I
drop
œ
like
wa
œ
-
œ
w
w
œ œ
˙
œ
œ
But
I
drop
œ
J ˙
#œ
œ.
œ
ramp - ing
for
˙
œ
down,
but
I
drop
˙
shed,
My
∑
ter shed,
˙.
œ
down
like
˙.
œ
œ.
œ ˙
J
wa - ter shed,
˙
Psalm 22, part 2 - 2
˙
like
w
prey.
˙
˙.
œ
but
I
drop
w
in
˙.
œ
sun
-
˙
œ
œ
œ
joints
˙
œ
in
sun
My
joints
˙
œ
in
sun
Œ
œ
œ
My
œ
œ
˙
œ
down,
œ
joints
˙
but
w
œ
œ
a
w
∑
œ
ter
œ
J
˙
˙
œ
œ œ
Ó
down,
˙.
as
˙
his
w
œ
J
œ
Œ
Much
w
-
me,
slay:
w
œ.
w
w
and ramp - ing, and
∑
œ
Œ
œ œ œ œ ˙
œ
Œ
me
œ œ
J
out,
œ
œ
œ
œ
œ
u - pon
w
would
œ.
w
down,
gape
œ
they
˙
ing, roar
œ
∑
down
? ## ˙
œ
though
But
? ##
47
-
they
œ
œ œ œ œ œ œ
j
œ œ œ
## ˙
œ
œ œ œ œ œ œ œ œ
œ
Œ
me,
w
would,
˙
œ
pon
œ
˙
42
-
œ
˙
? ## œ
œ
T.
u
œ
they
37
I
gape
œ
15
œ
œ
˙
˙
der
-
16
# ˙
V #
52
Œ
œ
break:
# œ
V #
? ##
My
œ
œ
break:
-
der
break:
˙
56
V
## ˙
#
V # œ
? ##
? ##
T. II
œ
Like
wax,
#
V #œ
? ## ˙ .
b˙ .
˙
#
V #œ
? ##
˙.
heart
œ
˙
œ œ
bo
œ
˙
my
bo
œ
˙
doth in
my
bo
j
œ œ
œ
˙
j
œ œ
‰
œ
œ
wax
a
my
œ œ
˙
dust
œ
œ œ
˙.
-
gainst
-
œ.
j
œ
heat.
gainst
the
heat.
the
˙
dy
melt,
œ
˙
w
to
dust
œ
˙
death,
Psalm 22, part 2 - 3
œ
œ
w
of
œ
w
œ œ œ
œ
fast:
˙
œ
And
heat.
clea - veth
˙
˙
w
œ
œ
tongue it
˙
of
œ
˙
the
œ
œ
œ
melt,
w
œ
J
gainst
˙
˙.
dy
œ
œ
strength, My
am brought,
-
˙
œ
œ
w
˙
œ
œ
˙
œ
œ
-
œ.
˙.
-
˙
˙
to
a
a
œ
œ
œ
œ
œ
œ
Like
[Source D: see p.19]
wax
œ
melt,
˙
œ
‰
œ œ ˙
I
j
œ œ
œ
Œ
˙
dy
doth in
˙
œ
œ
-
‰
œ
˙
˙.
am brought,
my
œ
b3
œ œ ˙
I
My
drieth
œ
and
? ## w
70
a pots - herd
œ
jaws,
˙
like
œ œ nœ
#
V #˙
œ
œ
œ
65
heart
œ
˙
like
My
like
œ
in
˙
wax
˙
œ
œ
60
like
wax,
˙.
œ
w
œ
˙
œ
Like
œ
œ
Œ
wax,
œ
œ
˙
? ## ˙
doth
œ
der
-
heart
˙
œ
j
œ œ
‰
˙
#œ
œ.
j
œ
˙
death
at
last,
w
œ
of
œ.
death
j
œ
at
w
last.
w
œ.
Un - to
œ
˙
˙
and
œ
J
my
17
#
V # Ó
75
T.I
˙
And
? ## w
#
V # œ
? ##
œ
? ## w
#
V #
90
œ
#
V # w
103
T.II
Yea
? ## w
a - gainst me
œ œ
cru
-
w
pierce,
w
they
˙
œ
œ œ
Ó
#˙ .
I
œ œ
#˙ .
˙.
˙.
œ
œ.
j
œ
my bones have
∑
˙
was tor - men
told:
∑
œ
˙.
ted,
˙.
œ
œ
still
u
-
˙.
œ
#w
ly,
œ
œ.
œ
my
hands
œ
Nœ œ
œ œ
œ
Yea
still
u
œ
˙.
me
œ
˙
˙
they
w
pierce,
˙.
˙.
˙.
they
Psalm 22, part 2 - 4
˙.
and
feet.
w
Œ
ted
-
pon
œ œ œ
œ
so that I
might
∑
œ
ted
˙.
œ
œ
∑
œ
˙.
-
w
˙
˙.
˙
˙
∑
˙.
˙.
-
coun - sel
œ
˙
was tor - men
∑
wick - ed
œ
me
œ
∑
˙.
œ
˙.
did
they
w
w
look,
œ
œ
˙.
œ
œ
did
look,
˙.
and
œ
still they
œ
j
œ
#œ .
œ
œ
J
˙
was tor - men
w
pon
and
œ œ ˙
w
œ
me,
œ
I
w
˙.
-
œ
Ó
pierce
∑
w
w
w
-
el
˙
w
∑
Œ
œ œ œ ˙
they
I
œ
˙
œ
˙.
˙
Ó
96
? ##
œ
œ
œ
˙
com - pass
˙
? ## w
all
do
˙
∑
#
V # œ
dogs
œ
œ
J
œ œ œ #œ
˙
∑
? ##
? ##
œ
˙.
#
V # Ó
B
œ.
Con - spire
85
T. II
ma - ny
œ
˙.
80
eke:
œ œ ˙
œ
˙
œ
œ.
me
˙
j
œ
be -
18
#
V # w
109
T.II
B
? ##
hold.
˙
∑
˙
#
V # ˙.
116
˙.
? ## ˙ .
#
V # ˙
I
T.
II
? ##
? ##
fall,
œ
œ
œ
coat
for
my
coat
œ
for
? ## ˙ .
And
? ##
fall,
V
˙
w
fall,
œ
J
did
cast
lots,
they
œ
Œ
˙
to
œ
˙.
œ
for
my
œ
œ œ
œ.
coat
coat
to whom
œ
œ
J
they did
œ
J
˙.
œ
whom
to
whom
œ
œ
˙
it
might,
w
whom
to
˙
œ
lots,
œ
œ.
œ
J
cast lots,
lots,
Ó
˙
˙.
whom
it
might
œ
to
œ
whom
œ
it
œ.
might
œ
œ
œ
˙
œ
œ
w
whom
it
j
œ œ
˙.
˙
all:
to
œ
cast lots,
did
œ
w
œ
J
œ
it
œ
œ.
œ
œ
œ
œ.
cast
cast
Ó
cast lots,
to
œ
they did
œ
œ
they
œ
j
œ œ
˙
œ
œ
œ
œ œ
˙
œ
parts a - mong them
˙.
w
coat
my
˙.
œ
in
˙.
∑
∑
œ œ
eke,
œ
œ.
whom,
my
ded
œ
w
#œ
#˙ .
-
Nœ
to
#
V # ˙.
fall,
œ
vi
œ
whom,
for
-
did
w
Source D: bars 116-end
# Cho[rus]
œ.
œ œ
V # ˙.
##
di
∑
˙.
œ
they
to
And
Cho[rus]
#˙ .
œ
J
˙
w
#
V # ˙
they
˙
w
∑
œ
n˙ .
œ.
œ.
∑
n˙ .
˙
And
Cho[rus]
B
œ
my
œ
120
gar-ments
˙.
for
And
œ
œ
#œ
And
fall,
œ
My
? ## w
? ##
∑
œ.
j
œ
might
be
fall.
œ.
j
œ
-
might
be
-
fall.
œ
œ
œ.
to
whom
it
might
œ
to
œ
whom
œ
it
œ.
might
œ
œ
œ
œ.
it
might
œ
œ
˙
œ.
to
whom
it
might
be - fall.
might
be - fall.
˙
it
œ
œ
œ
might,
it
might,
Psalm 22, part 2 - 5
œ
it
œ
it
œ.
œ.
might
be -
w
u
œ
œ
J
j
œ
U
w
˙
whom
be -
U
w
œ.
to
j
œ
W
j
œ
W
j
œ
W
be - fall.
œ
J
be -
j
œ
be -
j
œ
be -
19
Chorus: Therefore [I pray thee]
#
& # w
There
And
? ## w
-
˙
˙
fore
from
I
the
˙.
# w
& #
? ##
˙
But
And
w
? ## w
&
˙
˙
˙
˙
from
I
the
shall
˙
˙
keep
in
thy
thy
? ## w
˙
˙
˙
˙
˙
˙
˙
˙
˙
#
˙
V # œ œ
like
Like wax,
? ##
œ
œ ˙
Like wax,
w
w
˙
˙
be
mouth
not
that
far,
would,
from
me
me
all
at
in
w
˙
˙
˙
˙
˙
˙
œ œ
w
w
˙
˙
˙
˙
soul,
all,
by
Thy
˙.
a - gainst
w
œ.
œ
the
˙
U
w
that
the
the
thy power:
re - cord:
˙
dogs
thee
j
œ
w
w
From
of
˙
w
˙
˙
w
˙
dear,
name,
the
w˙
˙
˙
w
w
˙
˙
˙
need:
shi - ver:
˙
w
œ
J
œ.
thy might
and
ma - jes - ty
w
w
a - gainst
œ œ
like wax
˙
w
w˙
Lord make speed.
me
de - li - ver.
˙
a - gainst
wax
˙
˙
˙
œ
help me
safe - ly
˙
˙
dar - ling
praise
thy
œ
˙
w
˙
˙
œ
to
Lord
˙
my great
sun - der
w
˙
wax
like
w
˙
˙
w
˙
˙
˙
˙
˙
˙
œ
œ œ ˙
w
w
save
my
breth - ren
˙
˙
˙
˙
soul
thy
church shall
˙
w
art
my strength,
u - ni - corns,
sword Lord
to
my
Source D: from bar 56 (p.16)
56
w
# ˙
Œ œ
V #
wax,
˙
that thou
horns of
˙
˙
## w
And
And
˙
ra - ther
from
the
#
& # w
And
And
pray thee
li - on's
œ
˙
˙
˙
would de - vour.
li - ving Lord.
˙
w
u
˙
∑
∑
heat.
w
Ó
heat.
w
heat.
Psalm 22, part 2 - 6
˙
œ
And
w
œ œ nœ
œ
like a pots - herd
˙.
œ
(to bar 61, p.16)
20
5. Psalm 22, part 3:
All ye that fear him praise the Lord
B ## C ˙ .
## œ C
V
œ
# œ
V # œ C
œ
? ##
CÓ
œ
Countertenor
I
B #Cœ
#
Tenor
Tenor
II
? ## C ˙ .
Bass
Bass
? ## C w
? ##
Throughbase
5
B
? ## Œ
? ## ˙
9
T.1
B
Basso
Continuo
œ
˙
thou
Ja
#
V #
∑
? ## œ
? ##
œ
el,
œ
with
˙
# ˙.
V #
14
? ##
poor,
∑
#
V # œ
18
? ##
they do
? ## w
call,
˙.
he
tur
˙
œ œ ˙
œ
œ
œ
J
him
œ
wor - ship
-
∑
œ
-
∑
Lord,
w
w
œ
œ
him:
And
all
ye
house
of
Is - ra -
w
˙
w
him.
w
œ
J
their
œ œ
For
∑
j
œ
œ
a - way:
∑
œ
His
he
œ
œ
œ
œ
coun
œ
Psalm 22, part 3 - 1
˙.
the
œ
J
when
˙.
œ
œ
J
˙
œ.
œ
∑
w
∑
∑
w
∑
not
te - nance
œ
A - mong the
w
œ.
œ
œ
-
˙
cry.
œ
de - spi - seth
˙
˙
œ
˙
˙.
˙
to
the
œ
not
teth
praise
œ
neth
œ.
w
œ
œ.
œ #œ
j
œ
œ
œ
˙
œ.
w
∑
j
œ
œ
œ
ye that fear
˙
˙
But gran
∑
∑
œ.
œ
œ
œ
∑
ho - nour
œ
œ
œ
∑
∑
#œ
œ
∑
œ.
rence
? ## w
∑
˙.
cob
w
-
˙
∑
All
œ
œ
rev'
˙
-
∑
Cw
œ
œ
∑
œ
œ
folk
that
œ #œ
fear
œ
the
#
V #
21
22
? ##
? ##
26
V
∑
˙.
œ
Lord,
there
keep
? ## ˙
#
V # œ
30
eat
? ## œ .
know
? ## œ
know
œ
œ
œ
will
I
œ
œ
˙.
Thy
˙
œ
-
mise
made,
for
set - ting
œ
œ
œ
thy
˙.
pro - mise
œ.
œ
and
œ
J
˙
œ
œ.
œ
and
be
œ
œ.
œ
œ
J
Lord
œ
œ
and
œ
Lord
and
the
œ
œ
œ
œ
J
œ
suf - fic'd,
˙
˙
˙
œ
œ
œ
œ
œ
praise his
praise his
œ
œ
œ
praise,
˙.
and
keep
thy
œ
Thy
˙
œ.
œ
œ
forth
œ
œ
œ
and
˙
˙
name,
forth
thy
name.
that
those
their
˙
˙
Psalm 22, part 3 - 2
œ
œ
The
˙
œ
œ
J
do
their
œ
J
œ
that
œ
œ
their
œ
œ.
œ
hearts shall
œ
œ
poor
shall
œ
The
œ
œ.
live
˙
˙
œ
œ
œ
To
˙
œ
dea - vour:
œ
live
œ
dea - vour:
œ
do
hearts shall
j
œ
Œ
œ
œ
œ.
Œ
˙
œ.
their
˙
œ
J
œ
˙
œ
œ.
˙
and
˙.
name.
œ
œ.
and
œ
J
œ
praise,
thy
those
œ
˙
name,
˙
œ
set - ting
Œ
suf - fic'd,
shall eat
the
for
˙.
œ
J
be
œ
made,
˙
œ
w
œ
œ
˙
pro - claim:
˙.
? ## ˙
? ##
fore
Œ
˙
poor
## œ
œ
˙
## ˙
? ## œ
V
-
w
pro
34
˙
∑
To
˙.
œ
J
œ
j
œ
œ
for
for
˙.
e - ver.
˙.
e - ver.
w
22
Chorus: All coasts [of earth shall praise the Lord]
# w
& #
All
? ## w
# w
& #
? ##
w
The
# w
& #
The
? ## w
&
## w
And
? ## w
˙
˙
˙.
of
coasts
œ
˙
˙
˙
˙
w
w
˙
˙
˙
˙
w
earth
˙
shall
˙
praise
w
the
Lord,
w
and
w
turn
to
for
grace:
˙
˙
him
˙
˙
w
w
˙
˙
˙
˙
w
him,
be
fore
his
˙
w
w
˙
˙
˙
˙
w
˙
w
w
˙
˙
˙
˙
w
w
the
Lord
shall
have
w
˙
˙
w
˙
˙
˙
and
king
for
e
˙
˙
˙
˙
˙
˙
folk
shall
˙
˙
˙
˙
˙
of
˙
˙
˙
˙
he
shall
be
their
˙
˙
˙
hea - then
king - dom
˙
˙
˙
˙
the
˙
˙
wor - ship
˙
˙
˙
˙
folk,
˙
˙
w
hea - then
˙
go - ver - nor,
˙
w
Psalm 22, part 3 - 3
w
-
˙
˙
w
bles - sed
˙
˙
face.
there - fore:
˙
˙
-
w
w
U
w
ver - more.
˙
w
u
I
#
V # Œ
T.
II
B
23
Cho[rus]
39
#
V # Œ
? ## ˙
œ
The
œ
The
The
43
V
## œ
taste,
? ## œ
feed
? ## œ
œ
œ
˙
œ
rich
j
œ
taste
œ
and
œ
œ.
taste
al
˙
œ
œ.
bow
their
kness
bow
œ
? ## œ
œ
bow
V
## œ
V
˙
-
dust,
? ## ˙ .
all
? ## ˙ .
œ.
their
kness
œ
œ.
their
œ
œ
J
kness
-
-
-
œ
J
full
œ.
of
his
good
œ
œ
#œ .
œ
œ.
of
his
œ
œ
good
ly
j
œ
-
˙
ly
œ.
œ
J
˙
Œ
˙
Ó
˙
˙.
gifts,
in his
pres - cence wor - ship
˙
so:
œ
All
œ œ
pres - cence
˙
˙
œ œ
˙
˙
low.
All
œ
œ
œ.
in his
Ó
œ
that go
˙
down
œ
œ
to
down
to
dust,
nœ œ
˙.
œ
˙.
˙
dust,
˙.
that go
œ
J
Psalm 22, part 3 - 4
œ
œ
him,
And
œ
him,
œ
œ
œ.
œ
ship
him,
œ
to
dust,
œ
œ œ
œ.
œ œ
down
And
œ
J
And
˙
˙
˙
that go
dust,
Œ
and
˙.
-
˙
All
œ
J
œ
feed
˙.
œ
wor
˙.
œ œ ˙
n
to
ship
that go down
Œ
œ.
shall
˙
All
Ó
-
œ œ œ.
˙.
˙
œ
œ
J
˙
œ
œ
j
œ œ
œ.
feed
œ
œ
œ
All
œ
shall
shall
so:
˙
˙
gifts,
pres - cence wor
low.
˙.
-
gifts,
in his
w
nœ œ
j
œ
All
full
˙
good
ly
œ
Œ
so:
w
down
-
˙
œ œ
low.
n
œ
J
œ
˙
full
j
œ
his
œ
w
˙
all
œ
of
œ
J
œ œ ˙
that go
œ
œ
al
al
men
men
œ.
#œ
œ
œ
œ
œ
œ
men
˙
and
œ
#
V # œ
##
˙
taste
#
V # #œ
51
rich
and
47
? ##
œ
rich
? ## ˙
# œ
V #
˙
all
œ
that
œ
œ.
œ
J
˙
j
œ
go down
to
to dust,
œ.
œ
J
˙
œ
˙.
œ
˙.
œ
of
life
by
him
must
œ
˙
Œ
œ
˙.
of
life
œ
w
œ
œ
of
life
by
œ
him
by
him
˙.
w
#˙
must
œ
must
24
#
V # w
56
V
##
? ##
? ##
taste:
? ##
My
taste:
praise the
œ
serve and
œ
praise
˙
œ
œ
#
V # nw
-
a
? ## ˙
˙
? ## ˙
shall
#
V # ˙
˙
V
last,
world
69
##
last,
œ
∑
œ.
œ
J
the
∑
∑
˙.
˙
œ
ny
world
shall
Ó
˙
˙
while
˙
last,
˙
while
œ œ
˙.
while
˙
w
? ## w
while
w
œ
a
˙
-
while
w
ny
world
˙
˙
˙
My
˙
œ
˙
Ó
œ
œ œ œ
œ
˙
while
˙.
a - ny world shall
˙
while
œ
œ
œ
˙
a
œ
ny
a - ny
œ
˙.
ny
world
world
shall
˙
w
˙.
œ
U
W
˙
U
W
last.
œ
U
W
a
-
ny
world
shall
last.
a
-
ny
world
shall
œ
last.
Psalm 22, part 3 - 5
œ
ny
˙.
shall
œ
œ
J
œ.
shall
˙
œ
œ œ
œ
-
œ
world
˙
-
œ
-
while
˙.
last,
˙
˙
shall
˙
a
œ
œ
J
seed
Ó
while
œ
and
œ.
œ
œ
œ
˙
œ
˙
world shall
last,
shall serve
Œ
˙
a
˙
˙
∑
œ œ
œ
œ
∑
∑
a - ny
seed
Lord,
œ
˙.
while
œ
? ## w
last,
∑
Lord,
Ó
last,
∑
w
-
œ
My
œ
J
˙
œ
praise the
œ
w
w
V
and
∑
Lord,
## ˙
65
shall serve
˙
œ
œ
œ
œ.
œ
Œ
Ó
œ
˙
œ
˙.
œ
J
seed
Œ
˙.
? ## œ
œ.
œ
taste:
# œ
V #
V
Œ
˙
60
##
∑
˙.
˙.
œ
W
u
shall
25
Chorus: [And all that shall go down to dust]
# w
& #
And
? ## w
#
& # w
? ##
w
My
# w
& #
My
? ## w
&
## w
His
? ## w
˙
˙
˙
˙
˙
˙
w
w
˙
˙
˙
˙
w
all
that
shall
go
down
to
dust,
of
life
by
him
must
taste:
w
˙
˙
w
˙
˙
˙
˙
w
world
shall
last.
˙
˙
˙.
œ
˙
˙
w
w
˙
˙
˙
˙
˙
˙
w
w
seed
˙
shall
˙
serve
˙
and
˙
praise
the
Lord,
while
˙
w
w
˙
˙
˙
˙
˙
˙
w
w
˙
shall
show
˙
to
them,
˙
˙
˙
seed
jus -
˙
˙
˙
˙
˙
˙
tice
and
his
˙
˙
˙
plain - ly
˙
˙
˙
w
w
right - eous - ness,
˙
˙
w
Psalm 22, part 3 - 6
a - ny
˙
˙
w
w
˙
˙
that
shall
be
w
˙
˙
˙
˙
w
w
w
˙
˙
˙
˙
w
U
w
and
all
his
works
of
won
w
˙
˙
˙
˙
w
born here - af
˙
˙
w
w
-
-
ter:
der.
w
u
26
6. Psalm 51, part 1: O Lord, consider my distress
BbC
Countertenor alone
˙
Tenor
Throughbase to the
countertenor verses
?b C
6
w
˙.
Vb
si
-
Basso
continuo
#
œ
œ.
der
my
?b w
Vb œ
œ
21
Vb Œ
w
œ ˙
J
Œ
˙
Wash
œ
Lord,
w
and
now with
me,
Lord, and make
œ
˙
me
clean
pu - ri - fy
œ.
thee
˙
œ #œ
‰
on
j
œ œ
a
œ
-
gain
˙
œ
J
this
œ
˙
this hei -nous
Psalm 51, part 1 - 1
Lord,
œ.
O
Œ
take:
˙.
œ nœ
My
#œ
œ
œ
œ
œ
œ
œ
sin - ful
œ.
œ
J
blood - y
˙
cy
˙
sake,
˙
#w
act,
w
œ
sins
œ
-
œ
œ
œ ˙
mer
crime and
œ
œ œ
J
thy great
œ
#œ
Lord, con -
œ nœ
˙
œ
œ
œ
un - just and
˙
œ œ œ
J
œ
w
œ
Lord, for
œ
Œ
w
œ
from
‰
w
œ
˙
œ
˙
˙
˙
good
˙
œ
œ
œ
w
œ
w
O
˙
w
œ
n˙
speed some pi - ty
re - dress,
#œ
Ó
œ
œ
œ
j
œ
œ.
#œ nœ
œ œ
O
œ œ
˙
˙
w
˙.
my faults
O
˙
˙
w
And
?b
C w
˙
Œ
˙
? #w
b
?b w
?b
Verse
dis-tress,
de - face,
Vb Œ
C Ó
˙
12
17
œ
b
V œ
w
fact.
w
27
Chorus: Remorse and [sorrows do restrain]
&b w
˙
Re
- morse and
b w
˙
˙
&b w
˙
˙
sins
a
?
?
My
w
b
&b w
?
For
˙
˙
˙
˙
thee
a
˙
b w
And
w
b
V b ‰ œJ ˙
?b ˙
32
Vb
-
-
Is it
˙
?b ˙
œ.
rows
do
las
do
still
˙
˙
˙
˙
lone
I
have
w
w
˙
of - fend-ed,
˙.
ma - ni - fest
w
œ œ ˙
so born was,
˙
w
Œ
a - las,
œ œ
˙
˙
face
˙
˙
œ ˙
˙
˙
œ
œ
Psalm 51, part 1 - 2
˙
˙
thy
sight:
˙
˙
˙
w
˙
œ ˙
J
con - ceiv'd
Ó
˙
˙
w
˙
and
right.
w
u
˙
œ
J
in
Œ
sin:
˙
˙
-
œ
œ
Yea
˙
œ œ œ
Al
˙.
U
w
w
˙
œ.
w
in
˙
w
re - lease.
e - vil
˙
was
˙
w
œ.
first I
w
˙
judge-ments just
˙
ex - cuse:
˙
˙
w
w
˙
and yet, vile wretch, re - main there - in.
œ
w
˙
˙
˙
˙
mine
˙
œ
œ œ œ nœ
w
˙
with - out
˙
˙
were thy
that
‰ Jœ œ œ b œ
˙
my
˙
w
w
w
w
fore
˙
yet
˙
˙
˙
w
were there - fore con-demn'd,
˙
˙
Com - mit - ting
w
˙
˙
˙
˙
w
˙ ˙
˙
w.
˙
w
˙
˙
-
w.
ack - know - ledge
˙
Be
w
˙
#œ œ œ . œ
J
œ
J
to
˙
w
w
˙
˙
Me
w
re - main
˙
˙
w
w
˙
w
w
con - strain
w
I
of my mo - ther
˙
w
˙
˙
if
œ œ œ œ œ
p
˙
˙
˙
too
˙
˙
˙
nœ
-
w.
˙
Verse
26
sor
˙
&b w
?
w.
˙
˙
so be-hold,
w
28
˙
38
Vb Ó
al
? w
b
44
Vb Œ
?b
˙
œ
Vb Œ
˙
˙
˙
Vb Œ
?b w
63
Vb Ó
œ
œ
wash
a - way
œ
œ
There - fore, such
˙
œ
? b #w
œ
œ
œ
joys,
O
in-ward truth
œ
which
w
thou
hast
suag'd,
w
w
I shall be clean - er
than
the glass:
œ œ œ œ #œ
the
snow
˙
w
œ.
œ
J
send,
that
œ
˙
a
in - ward - ly
œ
œ
I
Œ
mend,
œ
may
œ
˙
œ.
œ ˙
J
I
shall pass.
˙
˙
œ
w
find
grace:
w
œ.
œ
J
which thou
hast
#w
suag'd,
w
w
œ œ œ œ
which thou
white - ness
œ œ ˙
w
-
in
œ
œ œ œ
œ œ
œ
œ
œ
w
˙
blot,
spot,
Œ
con - vert.
j
œ ˙
w
œ
J
to
w
w
my strength may now
œ.
œ
J
nœ .
my
œ
w
˙
œ.
œ
heart:
‰ œ œ œ œ œ œ œ
J
œ
Lord, me
˙
œ
œ
˙.
œ
œ
nœ #œ nœ
œ
w
of a pure
thou hast re - veal'd me
œ
œ
œ œ œ #˙
˙
w
œ
#œ
˙
œ
that
b w
Vb Œ
œ
the
w
˙
And
68
œ
#œ
œ
purge this
œ
if thou
˙
œ
œ nœ ˙ .
˙
˙
œ
œ
œ
œ
‰ J Nœ
a - bove
œ
thou with hys - sop
#œ nœ
And
59
j
œ œ
œ œ œ
˙.
w
from
˙
˙
œ #œ
˙
wis - dom
œ
If
thou dost love
˙
œ.
˙
œ #˙
œ
œ
J
œ.
˙
w
54
?
˙
so be-hold, Lord,
There - fore thy
Vb Ó
?b
œ œ
œ œ
49
?b
-
œ
hast
Psalm 51, part 1 - 3
œ
œ
suag'd for
œ
˙
#œ
my
tres
œ
˙
U
W
-
pass.
W
u
29
Chorus: Turn back [thy face and frowning ire]
&bC w
Turn
?b C w
&b w
And
?b w
&b
?b
˙
˙
back
thy
˙
˙
˙
purge
my
sins
I
thee
˙
˙
˙
˙
Make
new
˙
my
˙
˙
?b w
˙
˙
˙
Thy
w.
˙
˙
w
˙
˙
and frown - ing
˙
˙
&b w
˙
face
˙
w
w
w.
w
˙
w
˙
˙
w.
ire,
for
I
have
felt
˙
w
˙
˙
˙
˙
˙
which
do
in
w
˙
w
it
to
thy
w
˙
˙
˙
˙
these
˙
˙
w
w
˙
con - stant sp'rit
in
me
let
rest,
which
may
˙
˙
w
˙
w
˙.
Psalm 51, part 1 - 4
œ ˙
˙
w
˙
w
˙
˙
w
pass
the
sand.
w
˙
˙
frame
˙
˙
num - ber
and
˙
w
˙
˙
˙
w
˙
˙
˙
w
˙
w
˙
˙
with
˙
e - nough thy hand:
˙
w
my breast,
˙
˙
w.
˙
w
w
de - sire,
in
w
w
heart
˙
-
w
w
˙
w
˙
ho - lt
w
will:
w
˙
˙
ra - ging
en' - mies
˙
˙
w
˙
w
˙
U
w
kill.
w
u
30
7. Psalm 51, Part 2:
Cast me not Lord out from thy face
B b C ˙.
I
˙.
BbC
Tenor
Tenor
Bass
Throughbase
? C ˙.
b
5
? b ˙.
œ
cast
œ
œ
œ
me
not
˙
œ
Lord
cast
? b ˙.
9
V b #œ
ly
Vb ˙
tor
? n˙ .
b
tor
? nw
b
œ
œ
me
not
œ
œ #œ .
my
-
tor
œ
J
-
˙
ments
end:
œ
ments
me not
œ.
Lord
w
end:
w
˙.
Lord
œ œ œ
me
not Lord
œ
œ.
out
from
œ
w
thy face,
˙
Ó
˙.
œ
w
from
thy
face,
œ
w
out
˙.
œ
˙.
#œ
œ n˙
œ
out
from thy
œ
J
Œ #œ
face,
n˙ .
thy
nœ .
face,
but
spee
œ
˙.
œ
out from
thy
face,
but
œ
w
œ
˙.
Take
˙.
œ
not from me
œ.
not from
me
Psalm 51, part 2 - 1
œ
thy
œ œ
œ œ
œ œ
J
-
œ
-
di - ly
my
œ
-
œ œ
J
di - ly
my
œ
#˙ .
Ó
∑
œ œ ˙
spee
#œ .
spee
œ
J
œ.
but
œ
∑
Take
out from
j
œ œ
˙.
˙
œ
J
∑
Lord
œ œ
w
ments end:
#˙
-
œ
me not
œ œ
C ˙.
b
Cast
œ œ.
J
œ.
Cast
Cast
˙
Vb Ó
Vb
?
Basso
Continuo
œ œ
∑
C ˙.
œ
˙.
∑
C
œ
?b
Bass
∑
C
œ
V b #œ
II
? C ˙.
b
œ
œ
Vb
Countertenor
˙.
œ
œ
sp'rit of
œ œ
J
œ
thy sp'rit of
œ
w
grace,
w
grace,
w
˙
Take
di -
14
Vb
œ
?
?
b
b
18
Vb
Vb
˙
œ
thy
∑
˙.
œ
˙.
take
œ
-
œ
œ
œ.
gers
me
fend, from
? b ˙.
œ
me
œ œ œ
˙
œ
œ
23
Vb
mind,
Vb Ó
?b ‰
?b œ
Œ
œ
J
œ
may stir
œ
œ
my
œ
˙
˙
Œ
œ
œ
œ
˙.
which
may
from
dan - gers
of
grace,
which
may
œ
Re
store me
∑
˙.
free
spi - rit
œ
œ œ œ
œ
˙
let me thy
free
∑
œ
œ
œ.
which
un
œ
to thee may
which
un - to
thee may
œ
œ
œ
œ
J œ
-
œ
which
œ
œ
œ
œ
œ
œ
un - to
œ
œ
œ
œ
J
me
de -
œ
J
œ
œ
j
œ
œ œ œ
œ
#œ .
at - tain,
œ
‰
which I
which
#˙
∑
œ
œ
œ
thee may
∑
˙
#œ
œ
thee
#œ
œ
˙
un - to
˙
˙
˙
w
stir,
may
˙
stir
˙
my
#˙
mind.
stir,
may
stir
my
mind.
˙
#˙
˙
thee
˙
Psalm 51, part 2 - 2
˙
may
˙
˙.
stir
w
in
œ
un - to
j
œ
waswont
˙.
œ
∑
œ
∑
∑
œ
œ
from dan - gers
œ.
œ œ ˙
œ
-
œ
œ
œ.
joys a - gain,
at - tain, which
nœ
dan
#œ
œ œ ˙
to those
#œ
spi - rit
from
∑
nœ œ œ
œ
mind,
œ
œ
œ
let me thy
œ
œ
˙.
And
˙
V b ˙.
may
˙
œ
œ
which
œ œ
find:
27
grace,
œ œ œ nœ
œ
And
?b ˙
of
œ œ œ œ œ
˙
w
Vb œ œ œ œ
#˙
∑
thy sp'rit
fend.
∑
thee to
œ
w
-
œ
∑
dan-gers me de - fend.
de
sp'rit
œ
J
˙.
w
? b ˙.
b
œ.
œ
J
me
?
œ
de - fend.
œ
œ
œ
∑
not from
œ
˙.
œ #œ
œ
not from me
p
Vb
œ
œ
31
w
œ
my
w
mind.
w
œ œ
stir my
32
Chorus: Then when [I shall they mercies know]
&b w
˙
˙
when
I
b w
˙
˙
&b w
˙
Thus
?
And
w.
˙
shall
thy
w.
˙
men that
˙
˙
˙
like - wise
˙
˙
˙
&b w
˙
˙
w
of
my
w
w
b
O
?b w
God that
˙
˙
&b w
˙
My
˙
Vb
∑
Vb
∑
?b
œ
˙
˙
˙
Ó
˙
˙
w
w
˙
˙
low,
By
mine
w
w
˙
w
˙
˙
w
˙
˙
˙
w
w
Œ
#œ
#˙
my tongue
˙
Lord
œ
˙
O
Lord
˙
w
˙
#˙
œ
O
Lord
˙.
Psalm 51, part 2 - 3
œ
˙
˙
art
un - tie,
˙
œ.
˙
˙
˙
˙
˙
˙
˙
˙
w
w
w
my bloo - dy
which
˙.
˙
this
œ ˙
œ
˙
˙
shall flee sin.
me
˙
w
w
˙
˙
Œ
Œ
˙
ex - am - ple
sing thy
˙.
˙
˙
˙
o - thers there - in:
˙
˙
To
w
Œ
˙
w
then ac - cord,
˙
˙
For - give
w
in - struct
˙
w
health art Lord,
O
˙
w.
˙
œ œ œ œ
œ œ
lips,
˙
˙
˙
shall
w
w
∑
œ œ ˙
Touch thou my
?b ˙
˙
I
˙
˙
w
are brought
˙
˙
˙
heart and tongue shall
?b w
32
˙
w
w.
w
w
w
˙
˙
mer - cies know,
˙
w
?
˙
w
w
vice:
w
U
w
˙
mer - cies and jus - tice.
œ
œ Nœ
which
art
the
Œ
œ
œ œ
J
which art
˙
the
œ
the
w
u
nœ .
j
œ ˙
on - ly ray:
#œ .
j
œ ˙
œ.
œ ˙
J
on - ly ray:
on - ly ray:
˙
˙
œ œ œ
V b œ #œ
œœ˙
œ
37
And then my mouth shall
Vb
?
∑
b Ó
?b
Vb
œ œ œ
And
as for out - ward
∑
? b ˙.
œ
47
Vb
mouth
˙
˙
? b œ.
52
Vb œ
Vb
? b ˙.
mind
? b ˙.
∑
there - in
œ œ
˙
œ
op - pressed,
œ
˙.
˙.
∑
ta
j
œ
-
w
kest
none.
Ó
∑
Lord,
O
œ
O
œ
Œ
˙.
œ nœ ˙
˙
œ
O
one:
˙
˙.
Lord,
˙.
∑
œ
Lord
œ
O
œ
œ.
œ.
Lord
Psalm 51, part 2 - 4
vy
œ
b˙ .
The
hea
b˙ .
œ
thou
∑
œ
-
œ
œ
œ
˙
w
œ
J
al - way.
∑
j
œ
w
al - way.
w
∑
œ.
nœ œ œ
J
But thou e - steem'st them of
œ
The hea
˙
op - pressed,
œ
sure
œ ˙
œ.
works and praise
j
‰ œ œ nœ
˙
Œ
œ
∑
˙
w
works and praise
œ
œ
œ
œ.
œ
∑
œ
œ
∑
œ
-
œ
œ
œ
thy won-drous
#œ œ
of - fered ma - ny'a
∑
plea
˙
∑
œ
would have
œ œ œ œ .
œ
œ
œ
J #œ
œ
∑
œ
I
œ
∑
œ œ
œ
price, and
˙
œ nœ œ #œ
sa - cri - fice,
œ
œ
J
‰
shall tes-ti - fy,
∑
V b #œ
∑
œ œœ ˙
˙
˙.
œ
œ
thy won - drous works, thy won-drous
∑
∑
V b œ œ œ œ œ . Jœ
?b
∑
œ œ œ
42
?b
tes-ti-fy,
And then my
˙
‰ œJ œ
˙
∑
heart,
-
∑
œ
œ
œ
œ
œ œ
˙
the mind
∑
˙.
œ
vy
heart,
the
œ
˙.
nœ
œ
j
œ
œ œ.
ne - ver dost re - ject: And to
œ #œ œ œ
J
œ
˙.
thou ne - ver dost re - ject:
œ #œ œ
J
œ
no
œ
œ nœ œ œ
∑
33
˙.
speak
∑
nœ
And
nœ
34
57
Vb œ
Vb
œ
truth it
speak truth
? ˙
b
Vb
œ
œ
is
œ nœ
˙
#
œ
J
∑
œ
-
on
turn
œ.
thy face,
un - to Si
-
on
œ œ
turn
thy face,
on
turn
Si
-
? ˙.
b
œ œ
˙
œ
J
˙
˙
thy face,
˙
œ œ œ.
hill:
‰ Jœ œ œ
And on
Je - ru - sa - lem
hill:
And on
Je - ru - sa - lem
œ
?
build
b
˙
˙
œ
˙.
and
œ
love,
and
love,
thy
œ
œ
walls
up
thy
˙
walls
˙
up
˙
œ ˙
œ
up
Vb œ ˙
˙
œ
‰ Jœ œ œ
œ ˙
Vb
b
œ œ
œ.
‰ Jœ œ œ
71
?
Je - ru - sa - lem
˙
thy
˙
˙
˙
walls
thy
œ œ œ œ
mer
j
œ
grace,
œ
thy
grace,
œ
and
œ
˙
#˙ .
cies
œ
on
thy
œ
thy
∑
Ó
œ
˙
walls,
Œ
˙
˙
˙
up
thy
walls,
˙
˙
˙
œ
˙
˙
U
W
U
W
and
#œ
love,
˙.
and
œ
love
˙
it
#˙
still.
and
love,
and
love
it
still.
˙
love,
˙
build
-
œ
˙
w
œ
œ
build up
w
out thy mer -cies on thy
œ œ œ œ ˙
˙
œ
out thy
œ œ œ œ œ
out thy
w
thy
˙.
pour
pour
grace,
j
œ
œ œ œ œ
œ œ œ œ
cies,
w
œ
J
un - to
œ œ œ œ
Ó
œ œ œ œ
pour
Vb ˙
?b
∑
nœ œ
Lord
w
-
nœ œ
Lord
˙.
th'ef - fect.
œ
out thy mer
˙
˙.
w
œ ˙
Ó
œ œ œ.
˙
œ
pour
œ œ œ œ
Vb œ œ œ œ
?b ˙
sa - cri - fice
Lord
Ó
˙
Lord,
j
œ
œ œ.
˙
Ó
Ó
œ œ œ nœ œ
œ #˙
J
66
mer -cies on thy hill: And on
œ
w
th'ef - fect.
∑
œ œ
œ ˙
J
œ
J
sa - cri - fice
the best, and of all
un - to Si
œ.
and of all
œ œ œ œ
œ
œ.
œ
J
nœ œ œ .
‰ Jœ n œ œ
best,
it
nœ œ œ .
œ œ œ nœ .
? ˙.
b
the
j
œ œ nœ
to
Vb
is
∑
? œ.
b
62
˙
œ nœ
˙
˙
Psalm 51, part 2 - 5
˙
˙.
and
love
˙
w
œ
it
U
W
still.
W
u
build
œ
build
35
Chorus: Thou shalt accept [then our off'rings]
&bC w
Thou
?b C w
&b w
Yea
?b w
&b
?b
˙
shalt
˙
˙
cal - ves
˙
˙
˙
To
Fa - ther
& b w.
As
? b w.
˙
˙
and
˙
w
˙
˙
˙
w
w
˙
˙
˙
in
the
˙
˙
w
and
˙
˙
w
˙
˙
w
w
off' - rings,
w
˙
˙
Ho - ly
˙
˙
˙
be - gin - ning
˙
w
˙
w
w
u
-
w
˙
pon
thy
al
Ghost,
all
w
w
praise and
˙
˙
˙
and
˙
w
w
˙
was,
is
now,
w
˙
˙.
Psalm 51, part 2 - 6
˙
œ ˙
-
w.
˙
˙
˙
right
˙
˙
w
w.
˙
w
˙
˙
peace and
w
w
˙
˙
of
ma - ny other things
Son
˙
˙
then our
w.
˙
˙
˙
˙
ac - cept
w
w
w.
˙
eous - ness
-
w
I
say:
w
˙
˙
˙
w
tar
will
we
lay.
˙
w
˙
˙
glo - ry
be
˙
˙
w
˙
˙
˙
˙
˙
w
˙
w
there - fore:
w
w
U
w
˙
˙
shall
be
e - ver - more.
˙
˙
w
˙
˙
w
u
36
8. Psalm 67: Have mercy on us Lord
BbC
For a tenor alone
œ
Tenor
?b C ˙
Throughbase
6
Basso
Continuo
?
?b
grace,
To shew to
b ˙
˙
œ
œ
j
œ œ
us
œ
˙
j
œ
œ.
cy
on
œ
˙
us
w
Lord,
the
œ
˙
and grant
w
œ.
œ
#œ
œ
bright - ness
œ
œ œ n œ . œj
œ ˙
Œ
w
˙.
do thou ac - cord,
˙
˙
-
˙
‰
œ
œ
Have mer
C˙
œ ˙
‰ œJ œ
Vb ˙
œ
CŒ
œ
Vb
œ
œ
J
of
œ
thy
to
w
us
w
face.
w
˙
Chorus: That all the earth [may know]
&b w
That
?b w
&b ˙
all
?b ˙
T
?b w
b ˙
˙
w
˙
all
the
earth
may
know,
the
way
to
˙
˙
˙
w
˙
w
w.
˙
all
?
w
na
Let
O
˙
the
˙
Vb œ
˙
w.
œ
16
˙
˙
Vb Œ
11
˙
-
˙
˙
˙
˙
w
tions
on
a
row,
˙
˙
˙
œ
œ
nœ .
j
œ
œ.
the
world
O
God,
˙
˙
œ œ œ.
œ œ.
let the peo - ple all
œ
œ
w
#
œ
œ.
a - broad,
œ #œ
n˙
˙
may
see
thy
˙
give
œ ˙
J
ex - toll
œ.
˙
œ
J
praise
œ
œ
œ
Psalm 67 - 1
˙
œ
œ.
and
w
#˙
U
w
w
u
j
œ
w
w
name:
w
˙
œ
laud,
œ.
health.
˙
thy
#˙
And
w
sa - ving
un - to
œ
˙
˙
˙
œ
Ó
wealth:
˙
˙
˙
Aœ ˙
J
w
˙
god - ly
˙
Ó
w
˙
œ
J
œ
œ
œ.
and
laud
œ œ ˙
œ
J
the
w
same.
w
thy
21
Vb Œ
œ œ œ œ
œ
Through - out
?b ˙
œ
œ
œ œ #œ .
26
Vb
?b
œ
˙
Vb œ
œ
œ.
tions
of
?b w
with
so
œ.
œ ˙
J
w
œ
mirth:
For
j
œ
œ
earth,
w
œ
œ.
thou with
˙
w
the
œ
wide,
w
œ
-
œ
J
˙
œ
world
œ
re - joice
31
the
œ
œ
˙
œ
let
all
re
˙
œ
œ
˙
˙
the
na
˙
right
doest
guide,
œ
-
#œ .
tions
of
all
œ
˙
the
na
-
œ
œ
˙
w
œ
J
˙
the
˙
˙
w
to
thy
name:
˙
˙
œ
œ
let
˙
Œ
˙
nœ
˙
˙
j
œ
œ
˙
joice,
˙
œ
œ
Œ
œ.
œ
˙
œ
-
˙
truth and
Œ
œ œ ˙
earth.
w
Chorus: Let all the world [O God]
˙
˙
˙
˙
w
˙
w
˙
Let
all
the
world
O
God,
give
praise
un
? w
b
˙
˙
w
˙
w
&b w
˙
&b
let
?b ˙
36
T
Vb Ó
˙
w.
the
peo
˙
Then
?b w
-
w.
˙
˙
œ
˙
˙
˙
ple
all
a
˙
˙
˙
œ
˙
œ
œ
w
-
˙
Ó
broad,
Œ
shall the world in - crease,
œ.
œ
J
˙
œ
great
˙
˙
˙
ex
w
w
-
˙
-
n˙
˙
˙
toll
and
laud
˙
œ
store
œ
Psalm 67 - 2
of
œ
w
˙
˙
œ
Ó
w
#˙
U
w
the
same.
˙
w
u
nœ œ #œ
fruit
#˙
O
w
shall
37
w
fall:
w
38
41
And
?
46
b
Vb
œ
#
œ
nœ
Vb œ
œ
then our God, the God of
œ
˙.
œ.
œ
say,
then both
?b w
51
Vb œ
œ
œ.
œ
of
˙
œ
him
far
and
œ.
shall stand
œ
? b ˙.
œ
#œ
J
j
œ ˙
shall
˙
‰
near,
˙
˙
j
œ
w
in
fear,
j
œ w
œ
bless us
eke
with all.
God
œ.
j
œ ˙
œ œ
J
œ
œ
#˙ .
œ
˙
œ
˙
of
him
œ
earth
al-way,
œ.
shall stand
˙
#˙
I
œ
œ n˙
J
œ #˙
œ
shall us bless
œ.
œ
the
œ #œ
nœ œ
˙.
w
the folk through- out
Œ
˙.
w
œ.
œ ˙
J
œ.
œ.
œ œ
œ œ
peace,
œ
J
œ
and
˙.
œ
œ
œ
œ
œ
j
œ
U
w
in
œ . nœ
J
fear.
w
u
˙
Chorus: God shall us bless [I say]
˙
˙
˙
˙
w
˙
w
˙
˙
˙
w
shall
us
bless
I
say,
and
then
both
far
and
near,
˙
˙
w
˙
w
˙
˙
&b w
?
God
b w
&b ˙
folk
?b ˙
˙
through
˙
-
˙
˙
w.
˙
˙
˙
out
the
earth
al
w.
˙
˙
˙
w
˙
Ó
- way,
w
Psalm 67 - 3
w
Ó
w
the
w
˙
n˙
˙
˙
#˙
U
w
of
him
shall
stand
in
fear.
˙
w
u
˙
˙
˙
#˙
39
9. Psalm 100: All people that on earth do dwell
BC ˙
Countertenor
I
Tenor
BC ˙
Tenor
?C
5
V
Basso
Continuo
˙
œ
œ œ œ.
sing
to
? ˙
˙
V #˙
j
‰ œ œ
fear,
V
œ.
him
?
13
V
˙
œ
and
V œ.
fore
?
œ.
œ
J #˙
cheer - ful,
œ.
Lord
on
œ
with cheer - ful,
œ
J
œ
œ
J
œ
œ
‰ Jœ
œ
œ
his praise forth - tell,
‰ œj œ
œ
˙
Œ
re - joice,
œ
œ
come
œ œ
J
him and
re
œ œ
J
œ
œ
˙
-
joice,
˙.
˙
˙
œ
cheer - ful
œ
œ
with
cheer - ful
œ
œ
J
ye
be - fore him
come
œ
œ
œ
œ
˙
œ
and
œ
re - joice,
and
œ.
j
œ œ
ye
be - fore
œ
Psalm 100 - 1
œ
œ
œ
come
with
œ
œ
ye
be - fore him
Œ œ œ œ
come ye
be -
œ œ œ œ
œ
#œ
˙
re - joice.
œ
œ.
him
and
œ
œ
J
#œ œ œ œ
˙
œ #œ
œ.
˙.
his praise forth - tell,
œ
to the
Serve
˙
œ
sing
Œ
voice:
œ
œ
œ
Ó
Œ
œ
œ œ
Serve him
˙
˙
‰ œJ
˙
œ
Œ
voice:
œ
œ
˙
˙
˙
œ
œ
˙
œ.
Œ
Ó
œ
with
his praise forth - tell,
#˙
#œ .
j
œ ˙
sing to the Lord,
his praise forth - tell,
œ
œ œ ˙
œ
earth do dwell,
œ
œ
j
œ ˙
earth do dwell,
œ
œ
œ
˙
œ
œ
œ œ
J
with cheer - ful,
œ.
with fear,
œ
œ
œ.
earth, on
˙.
#œ
the
œ
œ
peo - ple that
˙
œ œ
to
œ.
All
with
sing
that on
˙
C ˙
œ
J
œ
Lord,
9
?
the Lord
V ˙
peo - ple
œ
V œ C Ó
œ
œ
œ
J
œ.
All
II
Throughbase
œ
V #œ C ˙
˙
j
œ ˙
re - joice.
˙
40
Chorus: The Lord ye know [is God indeed]
& w
?
˙ #˙
The
Lord ye
We
V
VŒ
?
˙
˙
˙
˙
˙
are
his
∑
˙
O
˙
˙
˙
V
œ
God
œ œ ˙
˙
˙ #˙
doth
∑
œ
œ
en - ter
then
his
gates
#œ
œ #œ
Praise, laud and bless his name
œ
? ˙
26
V œ
œ
so
? w
V
V
to
˙
œ
praise,
œ
J œ œ
at
œ
aid
œ
œ
∑
œ œ
praise
laud and
œ
#œ
˙
‰
˙
˙
w
did
us
make:
#˙
he
˙
˙
˙
˙
˙
sheep
he
˙
doth
us
˙
˙
˙
˙
˙
œ
joys
œ œ œ ˙
his
œ
the Lord our God
is
œ œ œ œ #˙ .
Psalm 100 - 2
courts
˙
good,
˙
his truth at
∑
œ
al - so:
˙
for
œ
J
j
œ ˙
Œ œ œ œ
j
œ ˙
#œ .
Œ œ œ œ œ œ œ
Nœ œ .
J
#œ œ œ œ
J
∑
w
u
∑
∑
œ œ #˙
make.
˙
bless his name al - ways,
œ.
U
w
˙
œ œ œ ˙
œ.
w
∑
∑
œ
˙
∑
˙.
œ
all times firm - ly stood,
˙
˙
˙
ap - proach with
w
œ.
our
∑
do.
œ
˙
his
˙
∑
∑
˙.
w
For why?
e - ver sure: His truth
œ ˙
?œ
w
#˙ .
Œ
w
∑
for
ways,
j
œ w
œ œ œ. œ œ
J
is for
-
∑
œ.
seem - ly
31
œ
∑
V
al
and
˙
œ
œ
œ
feed,
˙
w
∑
œ
˙
with
˙
˙
w
j
#œ
œ.
w
w
˙
˙
with - out
w
us
˙
˙
œ
in - deed,
˙
œ œ
22
V
is
w
w
˙
˙
˙
flock, he
˙
˙
w
17
know
˙
w
& w
?
˙
#œ œ
it
is
w
‰ œJ œ œ
his mer - cy
˙
∑
œ œ ˙
all times firm - ly stood,
œ.
∑
œ #œ œ œ œ
J
41
36
VŒ
œ.
œ
œ
J
and shall
œ œ œ œ œ . œj
w
∑
Œ
from age
to
∑
V
? œ œ œ ˙
age to
V Ó
? œ.
his truth at
all times firm - ly
œ
œ.
œ
J ˙
from
age
to age,
œ
J
Ó
∑
j
œ
all times
˙
stood,
firm - ly
œ.
#œ ˙
J
‰ œ œ
J
œ
œ
œ œ
œ.
˙
Œ
at
˙
œ
œ
œ
œ œ
˙
œ.
œ
œ
œ
J
œ
œ.
and
shall
œ
J
from
˙.
Œ # œ œ . œj
œ
œ.
age
to
age
œ
œ
#œ .
to
age
˙
œ
˙.
œ
age
w
en - dure,
œ #œ ˙
and shall from
œ
Œ
j
œ . #œ
∑
œ #œ
J
‰
j
œ
from age
U
W
en - dure.
j
œ
U
W
en - dure.
W
u
˙
?
For
w
& w
?
His
w
˙ #˙
why? the
˙
˙
w
is
good,
his
˙
˙
˙
œ œ ˙
Lord our God
˙
˙
truth
at
all
˙
w
˙
˙
˙
˙
˙
˙
˙
˙ #˙
times firm - ly
˙
˙
˙
w
w
w
stood,
w
˙
˙
˙
˙
˙
mer - cy
is
#˙
for
˙
˙
˙
˙
˙
˙
e - ver
w
˙
˙
˙
˙
˙
and
shall
from
age
to
age
w
Psalm 100 - 3
˙
˙
˙
˙
˙
˙
w
sure:
w
U
w
en - dure.
˙
to
œ
Chorus: For why? [the Lord our God is good]
& w
œ
˙
age to age
˙
#˙
œ
and shall from
˙
and shall from
œ
J
‰
stood,
∑
age en - dure,
46
age,
œ
j
œ œ
œ.
˙.
‰ Jœ œ œ # œ œ
j
œ. œ w
V œ œ
V w
w
œ
∑
V
en - dure,
His truth
? ˙.
41
age
∑
∑
w
u
42
10. The Lamentation: O Lord in thee is all my trust
œ
b
V #œ
œ
?
b œ
Countertenor
BbC œ
Tenor
?b C œ
Bass
Bass
?b C ˙
?b
Throughbase
5
T
Vb
Basso
continuo
œ . #œ ˙
J
woe - ful cry:
? b˙
b
Vb ˙
‰
eye.
˙
b ˙
14
Vb Ó
?b
˙
19
Vb Œ
? b nw
˙.
˙
10
?
Œ
C
C ˙
Re - fuse
me
œ
I
do
still
b˙
la
œ
œ
œ
O
Lord
for
˙.
thee
b˙
to
please,
˙
bœ
Œ
˙
trust,
-
be
œ #œ œ
œ œ
bœ œ œ œ
sith
thee
to
œ
œ
˙
œ
œ
please
I
˙
The Lamentation - 1
œ
I
˙
œ.
-
œ
œ
œ
j
œ
do
of - fend:
˙
˙
œ
thee
to
please,
œ
œ
n˙
œ
œ . œj
w
I
do
˙
do,
œ
œ
#œ
sith
œ
∑
œ.
˙
œ
Œ
shent,
˙
œ
œ
˙
my
down thy heav'n
˙
w
I
œ
œ
un - to
˙.
˙
ment my sins where - in
œ
J
ear
but bow-ing
œ œ
bœ .
give
œ œ œb
‰ J
un - just,
œ œ
J
œ.
œ
∑
˙
˙
œ
them shall
œ
my
Œ
˙
œ . b œj ˙
n˙
œ
all
œ
J
am
œ
˙.
œ
not that
œ
˙
œ.
œ
˙
œ Nœ
œ
œ
œ
∑
˙
œ
œ
œ
thee is
#˙
œ
J
Be - hold how
œ
in
∑
œ #œ .
œ
œ
O Lord
œ
j
œ œ
˙
sith
˙
C œ
˙
in - tend.
w
˙
œ
J
ly
43
24
T
B
∑
∑
Vb
? Œ œ œ œ
b
No, no, not
?
b ˙
30
Vb
˙
œœ œ
Œ œœ
œ ˙
˙
˙
so,
œ
œ
‰ œj œ œ œ
∑
∑
thy
œ
35
Vb Œ
˙.
œ
œ
œ.
b˙
œ ˙
J
they
?b
˙
cry,
?b
œ
œ
to
41
Vb Œ
but
? Ó
b
that it
Œ
? b ˙.
œ. œ ˙
J
to wash a - way
my
sin - ful crime:
œ œ œ #œ
œ
˙
may,
œ œ #œ
but
˙
œ
œ
J
œ œ #œ
œ
Œ
˙
Œ
œ œ
œ
but
that
Œ
may,
œ
˙
œ
it
œ
œ
œ N˙
œ
œ
˙
Thy blood
˙
˙
œ
#œ
may help
œ
œ
œ œ œ
œ
me, help
but
it
may help
that
œ œ œ
The Lamentation - 2
œ
œ
œ
œ
O Lord is
œ œ œ
œ
O Lord is
not
˙
œ
w
me
in
time.
me
˙
œ
J
in
shall
I
yet dry,
œ. œ ˙
J
œ
œ.
œ
œ . œj ˙
not
œ œ
œ œ
œ
j
œ b˙
œ.
œ bœ œ œ
Thy blood
sin - ful crime:
œ
˙
Œ
j
œ. œ ˙
#œ
œ œ ˙
that it
my
˙.
˙
#œ
˙
œ œ œ œ œ
˙
bœ
J
œ.
wash, to wash a - way
w
˙
∑
œ.
Œ œ
∑
˙
œ
‰ # Jœ œ œ
Œ
˙
To thee there - fore still
˙
to wash,
‰ œJ # œ œ ˙
∑
de-sire.
∑
#œ ˙
thy ire:
∑
they shall re-pent,
? ˙
b
∑
But when in heart
thou grant'st with speed that
? b ‰ œJ œ œ ˙
in
∑
˙
b
œ
œ
‰ œ
J
to deal with sin - ners
will is bent,
˙
œ. œ ˙
J
œ
w
time.
w
yet dry,
˙
44
Chorus: No, no, not so [thy will is bent]
&bC ˙ w
#˙
No, no,
not
?b C ˙ w
&b w
?
˙
But
&b w
To
˙
˙
˙
˙
w
Thy
B
?b Œ
˙
˙
heart
they
shall
˙
˙
˙
b˙
˙
˙
˙
˙ ˙
bent,
To
deal with
w
w
w
w
˙
re - pent,
˙
grant'st with
˙
w
w
˙
b˙
#˙
w
w
˙
˙
I
cry,
to
wash
a
still shall
w
˙
˙ b˙ w
˙
˙
˙
speed
that
they
˙
˙
˙
sin - ful
crime:
nœ œ #˙
w
˙
˙
w.
˙
blood
O
Lord
is
not
yet
dry,
but
that
may
help
w
˙.
œ #˙
it
w.
˙
œ
thee
œ
˙
#œ
œ
œ
œ œ
œ œ œ
thee
O
bœ
œ œ
Lord,
œ
haste
˙
of grace:
˙
œ
b
œ œ œ
That when this life
˙
œ
œ
shall
œ
I
œ #œ œ œ ˙
fleet
say,
‰ Jœ
w
The Lamentation - 3
˙
to
pour
U
˙ #˙ w
me
œ
in time.
˙ ˙ w
u
on me
˙
œ
œ
in heav'n with thee
˙.
w
w
œ œ œ œ
bœ
œ
˙
˙
a - way,
˙
Œ
w
my
w
˙
˙
way
˙
˙
de - sire.
w
˙
˙
w
#˙
˙ #˙
˙
˙
w
˙
˙
˙
ire:
˙
˙
w.
w
-
w
sin - ners in thine
˙ ˙
˙
thou
˙ ˙ ˙ #˙
w.
j
œ ˙
?b
w
w
w
?b
gifts
˙
is
w
˙
Haste
œ.
will
˙
˙
?b w
50
thy
#˙
˙
b w
46
so,
thee there - fore
&b w
?
w
˙
˙
˙
˙
w
when in
b w
?b
˙
w
œ
œ.
I
may
œ
b˙
œ
thy
œ
œ
œ
J
˙
have place.
˙
œ #œ .
55
T
Vb Œ
Where thou dost
B
?
œ œ œ. œ ˙
J
œ
J
reign e - ter - nal - ly,
∑
b
œ
Vb
∑
œ
Œ
œ
œ bœ .
œ
J
˙
˙.
where
an
œ
˙.
where
an
œ
˙.
˙.
œ
œ
end,
world
Vb Ó
˙.
praise,
?b
71
Vb
?b
Œ
œ
˙.
œ . Aœ ˙
J
œ
œ.
œ ˙
J
œ
gels
sing
bœ
œ
sing
œ bœ .
œ
œ
œ
J
œ
œ.
j
œ œ
con - tin - ual - ly,
˙
œ
˙
˙
Ó
Œ
end,
œ œ
world with - out
œ
œ
˙.
œ œ
#œ
nœ
end, world
#œ
nœ
œ
thee
The Lamentation - 4
-
gels
œ
˙.
œ
œ
be
œ œ œ œ œ œœ
praise, to
thee
be
˙.
œ
œ œ #œ œ
to
œ
to
thee
œ.
œ.
˙.
world
with
bœ
œ
bœ
be
thee
œ
with - out
œ
œ
∑
w
con - tin - ual - ly,
bœ
œ
œ
Œ
˙.
˙
œ
Œ œ œ #œ œ
˙
œ
bœ
œ
œ
to
œ
œ
gels
with - out
with - out end,
?b
-
Ó
j
œ. œ w
œ
∑
œ
∑
∑
sing con - tin - ual - ly,
œ
-
w
œ
J
send:
œ
Ó
˙.
œ
66
?b
œ b˙
œ.
once did down thee
˙
sing con - tin - ual - ly,
? œ
b
œ
œ
Where an
œ
Where an - gels
?b œ
œ
∑
j
œ . bœ ˙
n˙
œ
with God which
∑
? ˙.
b
61
œ
‰ J
45
œ
œ
praise world
œ
J
n˙ .
be
praise
œ
J
œ
with
œ.
˙
nœ
J
-
out
œ
world
œ
œ
U
w
out
end.
œ
J
end, world with - out
œ
œ.
n˙ .
-
œ
œ
U
w
end.
w
u
46
Chorus: Haste thee O Lord [haste thee I say]
&bC ˙
Haste
? C ˙
b
&b
?b
&b
?
b
#˙
thee
O
w
˙
w
˙
w
Lord,
haste
thee
˙
w
this
life
shall
flit
a
w
˙
˙
˙
Where
thou
dost
reign
w
˙
w
w.
Where
an
w
w.
˙
˙
-
gels
˙
˙
˙ #˙
-
w
e - ter - nal - ly,
˙
to
pour
on
me
w
w
w
˙
˙
say,
w
when
˙
˙
in
˙
˙ b˙
˙
way,
˙
˙
˙
w
˙
w
w
w
˙
˙
I
w
˙
˙
That
#˙
w
˙
&b w
?b
w
˙ ˙
˙
˙
˙
˙
˙
b˙
w
˙
˙
with
God
which
˙
˙
˙ #˙
thy gifts
˙ b˙
˙
˙
thee
I
˙
heav'n with
w
w
w
˙
˙
˙
w
˙
nœ œ #˙
˙
w
˙ #˙
w.
˙
sing con - tin - ual - ly,
to
thee
be
praise
world
˙.
The Lamentation - 5
œ #˙
˙
w.
send:
w
˙
w
w
once did down thee
˙
˙
w
˙ #˙
w
˙
place.
˙
w
˙
w
may have
˙
grace:
w
˙ #˙
˙
˙
of
w
˙
U
w
with - out end.
˙
˙
w
u
47
11. The Humble Suite of a Sinner:
O Lord on whom I depend
B C ˙.
œ
V œ C
Countertenor
I
Tenor
BC œ
?C
œ
V œ C
œ
?
CŒ
œ
Tenor
II
Bass
œ
?C
Bass
6
B
w
Basso
Continuo
œ
j
œ ˙
? œ.
care - ful heart:
?
˙
˙
œ
11
T. II
V Œ
?Ó
œ
see'st
œ
j
œ œ
16
V œ.
known
#˙ .
œ
to thee: And
? œ œ
to
? œ œ
œ.
thee:
˙
œ
J
And
∑
∑
∑
∑
∑
∑
Œ
œ
œ
˙
my
sor
˙
‰ œj œ œ œ . Jœ
O Lord
on whom I do
œ
will
and
plea-sure is,
-
rows
œ
what
they
#˙
my
sor
nœ
#˙ .
œ
-
œ
œ œ œ œ
w
there is none that
can re-move, or
take
there is none that
œ œ œ œ
œ œ #œ #œ œ
œ œ
smart.
˙.
œ
is
œ œ
my
œ
œ
œ
œ
grief is
œ œ
j
œ w
the same from me.
˙
can re - move,
or
The Humble Suite of a Sinner - 1
take the
œ #œ œ
w
œ œ œ.
œ œ #œ #œ œ
my
grief
are,
˙
œ œ
œ
w
my
˙
œ
˙.
œ
œ
˙
˙.
rows what they
of
˙
are, my
œ
˙
j
œ. œ
me
œ
œ
œ œ œ œ
œ œ œ œ
œ
˙.
be - hold
˙
re - lease
œ
œ
œ
Œ
de - pend,
œ
œ œ œ ˙
œ
œ
nœ
œ œ œ ˙
œ
œ
˙
˙
˙
˙
#˙ .
Thou
.
?˙
when thy
œ
Œ
∑
w
˙
˙
Thou see'st
B
And
∑
O Lord,
œ
œ
∑
œ ˙
? ∑ C
w
Throughbase
∑
˙.
œ
same
from
˙.
œ
w
me.
w
˙
known
˙
48
Chorus: But only thou [whose aid I crave]
w.
& w
?
But
on
w
w.
? w
T.
II
those
that
come
to
thee,
˙
˙
˙
˙
˙
˙
˙
˙
seen
my
w
˙
& w
˙
˙
tend
un
˙
˙
B
? C ˙.
For
? C ˙.
˙
˙
˙
-
to
˙
œ
For
∑
sin hath
#œ #œ
˙
w
and
for
rest.
suc - cour
˙
˙
w
w
˙
˙
˙
my
tears
˙
and
w
w
#w
˙
˙
suite
O
Lord,
mark
well
my
w
w
˙
˙
œ
sin hath so
in
œ.
-
#˙ .
œ
so
in
#˙ .
œ
clo - sed me,
œ.
-
œ
J œ
œ
˙.
and
com
∑
œ
J ˙
∑
œ
clo - sed me,
˙
-
˙
The Humble Suite of a Sinner - 2
œ
and
œ
œ
œ
w
˙
˙
˙
w
˙
w
˙
U
w
plaint and moan.
w
w
u
œ
#œ .
passed
me
œ ˙
J
a - bout:
∑
œ
com - passed
œ
w
grie - vous groan:
˙
˙
∑
#œ #œ
˙
˙
œ œ œ
pressed:
˙
˙
˙
is
˙
w
#˙
still
w
w
˙
w
w
˙
my
˙
˙
w
eyes,
˙
˙
w
rest - less
mer - cy
for
w
˙
w
w
˙
all
˙
VC
whose
ease
thou
VC Ó
crave,
w
hast
Verse
I
˙
And
22
w
˙
˙
? w
w
˙
˙
-
˙
w
˙
˙
˙
˙
At
thou whose aid
˙
˙
?
ly
˙
˙
˙
& w
I
-
˙
˙
& w
To
˙
œ
œ.
j
œ ˙
˙
˙
me
a - bout:
27
V Ó
˙
œ œ œ œ œ
That
V
?
?
˙.
∑
˙.
That
œ œ
˙.
œ œ
now
re - me - di - less, if
˙.
V œ
œ
œ
œ
˙
lease, nor
œ
mi
-
œ #œ .
-
ti - gate
∑
j
œ
V
œ
this
œ.
my
sins
V
?
?
thy
was
∑
˙.
sins
œ
œ.
? œ
œ
Œ
˙
˙.
blood - y
? œ
#œ
œ
œ
Ó
Œ
œ
#œ
for mor-tal
w
œ
œ
œ.
wounds
are
yet
to see,
œ
œ
œ.
œ ˙
J
œ ˙
J
œ
#œ .
œ
J
Lord
and
œ #œ œ œ œ
man can - not re
∑
œ.
œ
J
#˙
œ
œ.
j
nœ
Lord
and
œ
œ ˙
œ
˙
God, which
my
sins,
˙
though
˙
for
j
œ œ
œ.
God,
j
nœ
œ.
which
Œ
œ œ
œ
for
my
sins
œ
œ.
for
œ œ
œ
œ
œ
not
with
œ
œ
which
œ
The Humble Suite of a Sinner - 3
my
œ
˙.
œ
w
was
slain.
j
œ
œ
œ
œ
˙.
was
slain.
Whose
œ
˙.
˙
mor - tal
œ
œ
sins
œ
my
∑
œ
œ
œ
which for
∑
œ
J
-
∑
œ.
œ
Christ my
˙.
œ
œ œ
out.
˙
œ
J
slain,
˙.
#œ
œ
∑
slain.
w
Ó
not
Christ my
thy
w
was
out.
∑
œ
œ
∑
j
œ. œ w
œ
But e'en
Œ
which for
43
B
œ
J
œ
œ
J
pain:
w
œ
œ
œ #œ .
But e'en
38
œ
w
∑
? w
not
mer - cy help
œ œ œ
Œ
∑
œ
w
œ. œ
J
∑
œ œ œ
œ
œ
œ
mer - cy help
∑
∑
V
?
I am now re - me - di - less, if
I am
33
œ
œ œ œ œ
∑
49
˙
˙
eyes:
˙
˙
œ
œ œ
Yet
do the
œ
œ
50
48
I
T.
II
B
∑
V
∑
V
∑
? œ.
œ
J
? ˙.
be - hold
saints
53
V ˙
œ
?
59
V
-
sin
doth
˙.
œ
I
shall
en
?
?
#˙ .
#˙ .
˙
œ
œ
œ
-
joy
œ
œ
œ
Œ
#œ
˙.
#œ
see
˙.
œ
œ
œ
I
shall
en
œ
˙
the
sight
œ
shall
œ
œ
œ
en - joy
œ
œ
his wounds,
œ
and
see
œ
his
I.
˙
#˙ .
œ
w
when
thou shalt
see
˙.
œ
˙
œ
˙
the
sight
wounds,
˙.
œ
joy
his
œ
thou shalt
˙.
œ.
œ
œ
œ
see
œ
œ
J
of
˙
œ
œ
œ
œ
˙
œ
him, and
˙
him, and
see
˙.
of
him,
his
˙
˙
˙
wounds
œ
œ.
and
see
œ
˙
The Humble Suite of a Sinner - 4
œ
J
it
œ
˙.
and
see
œ
his
˙.
œ
and
blood.
˙
w
œ
his wounds
˙
blood.
œ
and
˙
his wounds,
w
and
#˙
his wounds,
œ
#˙
wounds
it
œ
œ
œ
˙.
œ
œ
see
œ
œ
œ
Œ
œ
when
w
#˙ .
˙
∑
thou shalt
sight
œ
w
when
˙.
the
Though
w
of
œ
œ
shall
while,
˙
œ
w
w
œ
Ó
˙
˙
-
-
˙
sin
w
∑
˙.
˙
a - while,
w
œ
œ
J
˙
œ
der me
a - while,
good:
œ
and
œ
-
œ
I
wounds,
œ
a
? ˙.
∑
œ œ
me
œ
see
trust
der
œ
and
I
-
œ
˙
so
˙.
V œ
œ
and
œ
it
? ˙.
œ.
˙.
hin
good:
œ
œ œ ˙
˙
Though
œ
œ
see
V
˙
Though
Ó
œ œ
der me
œ
V Œ
˙.
˙
Ó
∑
∑
˙.
˙.
64
all,
œ œ œ œ
œ
good:
them
doth hin
doth hin
˙.
˙.
œ œ
sin
?
œ
œ
˙
V œ œ ˙
∑
∑
w
blood.
w
51
Chorus: And as thine angels [and thy saints]
w.
˙
And
as
thine
w
w.
˙
&C w
?C
˙
˙
trust
I
to
? w
˙
˙
& w
˙
˙
But
while
I
w
˙
˙
˙
& w
˙
˙
˙
sist
me
˙
˙
So
?
As
-
? w
69
VC
œ
œ
Lest
˙
œ
˙
w
w
and
thy
saints,
do
now
be
w
˙
˙
w
˙
w
that
place,
with
w
w
˙
˙
˙
w
them
to
praise
thy
name.
˙
w
˙
w
˙
˙
sin - ners
do
fre - quent:
˙
˙
in
this
vale,
˙
w
˙
˙
˙
w
#w
˙
˙
e - ver
with
thy
grace,
my
sins
still
˙
#˙
w
w
˙
˙
-
ners trace,
Ó
that I
œ œ
œ.
tread
œ.
w
œ
œ
œ
œ
œ.
and
give
them
my
œ œ
Lest that I
œ œ
where
œ œ
J
œ
œ œ
J
œ
in sin - ners
œ œ œ œ
˙
tread in sin - ners trace,
˙.
trace,
˙.
The Humble Suite of a Sinner - 5
w
˙
here
sin
w
w
live
˙
w
˙
w
œ œ
the same:
˙
˙
˙
hold
w
˙
˙
˙
-
˙
˙
˙
w
˙
˙
˙
∑
?C Ó
?C
˙
œ œ œ œ œ
Lest that I tread in
VC
˙
˙
˙
˙
w
pos - sess
˙
˙
an - gels
˙
˙
& w
˙
˙
˙
œ
J
w
˙
w
˙
˙
U
w
to
la - ment.
w
w
u
œ
œ
con - sent,
and
˙
give
‰ Jœ œ œ ˙
and give them my
œ œ
˙.
and
give
them
œ œ
˙.
œ œ
œ œ
52
73
V
œ
œ
œ ˙
them
V œ
?
?
77
V
œ
con
œ
my
con - sent:
œ ˙
-
œ œ
my
con
˙.
œ
to
na - ture
œ.
to
? œ
82
V ˙
?
œ.
na - ture
œ
j
œ
˙
down
˙
˙
˙
down
.
V ˙
j
œ œ
? ˙.
-
w
my
-
˙.
-
can
œ
-
˙
œ
be-ing
down,
∑
˙.
œ
˙
j
œ œ #œ
˙
#
re - co
˙
re
˙
-
ly thy
grace
œ.
œ
∑
˙
˙
that,
˙
that,
˙.
˙.
co
w
-
˙.
œ
ver
œ
where - to
na
œ
œ
must be
my
stay,
œ
ed - ness,
that,
˙.
œ
œ
œ
lest
that
Œ
then
be - ing
down
˙
˙
can
œ
-
#˙ .
can - not
œ
The Humble Suite of a Sinner - 6
#˙ .
œ œ
-
˙
œ
˙.
re - co
I
œ
œ
œ
of
then of
œ
my
-
œ
U
W
ver
that.
˙
-
œ
my
œ
not re - co - ver
˙.
that
œ œ
J
˙.
˙.
œ
œ
be - ing
And
not re - co
I
œ œ
œ.
œ œ
œ
˙.
and
-
-
œ
œ
œ
œ œ
œ œ
œ
œ
˙.
can
where
œ
stay, lest
œ
be - ing down
˙
-
∑
œ œ ˙
˙
where -
j
œ œ
œ
J
œ
J
‰
˙
œ œ
J
my
˙.
ver
ness,
˙
œ
be
re - co - ver
-
-
∑
œ
-
œ.
wick
œ œ
w
œ
ness,
in
œ
And
And
œ.
-
œ
œ
˙
Ó
w
self, can - not
not
œ
œ
œ œ
not
˙
œ
wick - ed
wick - ed
œ
∑
-
˙.
#˙ .
œ.
œ
ly thy grace must
w
flat:
œ
˙.
On
w
can
down then of
self,
flat:
œ
œ
J
œ œ œ œ
∑
w
œ œ
self,
? ˙.
On
w
˙
88
V œ.
˙
bent.
˙
œ
J
œ
œ
œ
∑
w
is
in
with them
œ.
bent.
bent.
them
œ
J
dwell
w
∑
fall
fall
To
œ
in
œ.
˙
˙
∑
V
?
œ
them
˙
˙
œ
is
œ.
œ
œ
œ
dwell with
dwell with
sent:
is
ture
? œ
-
œ
J
V ˙.
To
œ
To
œ
˙
œ œ
œ
œ
œ
sent:
˙.
œ
œ œ #œ
U
W
that.
U
W
œ
ver
that.
œ
W
u
-
53
Chorus: Wherefore this is [yet once again]
w.
˙
˙
˙
˙
˙
fore
this
is
yet
once
a
w.
˙
w
& w
Where
?
-
w
& w
To
? w
˙
˙
grant
me
˙
˙
& w
?
˙
Then
shall
my
w
˙
˙
And
? w
par - don
˙
˙
& w
˙
˙
˙
˙
-
w
for
my
sins,
that
w
w
˙
w
w
I
in
thee
may
rest.
˙
w
˙
w
sing
psalms
to
thee
w
w
˙
˙
of
The Humble Suite of a Sinner - 7
w
˙
saints,
house
re - quest:
˙
˙
˙
w
˙
˙
˙
˙
˙
˙
˙
w
˙
w
#w
w
#˙
˙
w
˙
˙
˙
˙
voice,
˙
my
˙
and
˙
and
w
tongue
˙
suite
in
my
and
˙
be
heart,
church
˙
˙
w
the
˙
w
˙
in
w
˙
˙
˙
my
w
˙
˙
gain,
˙
˙
˙
w
˙
˙
˙
w
˙
˙
-
stru - ments
˙
w
of
praise:
˙
w
˙
˙
w
U
w
al - ways.
w
u
54
12. The Lamentation of a Sinner:
O Lord, turn not away thy face
Soprano
BbC œ
Countertenor
I
BbC œ
Tenor
Tenor
?b C
Bass
?b C
œ
Throughbase
4
˙.
&b œ
not
Bass
Basso
Continuo
œ
œ
V b ˙.
a - way
Vb œ
œ
way
not
?b œ
not
?b œ
8
II
&b
œ.
bœ
&b œ
œ
b
V œ
Vb
?b
?b
œ
Vb
˙.
Vb
? b ˙.
C Ó
C
thy
j
œ
face,
œ
J
˙.
thy
men - ting
˙
Œ
˙
œ
Œ
œ
face,
from
him
œ
men - ting
sore
œ
˙.
Œ
œ
˙.
Lord
˙.
turn
from
œ
œ
œ
Nœ
œ
J
that
lyeth
œ.
pros - trate:
˙
him
that
lyeth
pros - trate:
La
œ
lyeth
œ.
sin
sin - ful
life,
œ
œ.
˙.
œ
that
œ
œ.
lyeth
j
œ ˙
ful life,
œ
j
œ ˙
be
j
œ ˙
b˙ .
ful life,
La
-
men - ting
sore
his
sin
-
ful life,
˙
The Lamentation of a Sinner - 1
j
œ
-
˙
-
#w
trate:
w
pros - trate:
w
œ
-
-
œ
˙
˙
sin
œ.
œ
J
pros
œ
œ
œ
Ó
œ
him
œ
˙
that
his
œ
œ
him
˙.
-
-
œ
œ
J
#œ .
his
b˙ .
œ
O
w
sore
bœ
a
Lord,
men - ting
? b ˙.
not
œ
-
œ
turn
turn
La
bœ
œ
œ
œ
˙.
œ
his
Lord
œ
Lord
˙.
œ
O
œ
turn
œ
œ
œ
˙
Lord
O
from
sore
œ
O
˙.
œ
œ
˙.
Lord,
from
œ.
œ
O
œ
˙.
œ
Œ
Lord,
face,
œ
œ
O
Lord,
w
#˙ .
œ
a - way
œ
˙
œ
Œ
˙
O
˙.
bœ .
-
œ
O
face,
b˙
Œ
C Ó
thy
˙.
La
#œ
œ
bœ
œ
thy
œ
C Œ
œ
a - way
œ
C Ó
œ
œ
œ
be - fore
thy
Œ
œ
thy
œ
be - fore
thy
œ
be - fore
thy
˙.
fore
œ
œ
œ
œ
œ
œ
œ
œ
œ
55
12
&b ˙
Ó
cy
gave.
˙
œ
mer
-
cy
gave.
Which
mer
˙
mer
?b ˙
˙
-
-
˙
cy
gave.
Which
˙
œ
cy
˙
&b
gave.
Which
˙
˙
Vb œ
œ
nœ
?b œ
b œ
la
œ
#œ
that
do
œ
œ
that
do
la
la
j
œ
œ.
-
-
-
gate thou
œ
œ
gate thou
œ
sin,
ment
œ
J
their sin,
Shut
œ.
j
œ ˙
Ó
˙
˙
œ
wide
˙
wide
op'n - est
wide
œ
œ
œ
˙
Shut
Shut
#œ
œ
˙
their sin,
œ
˙.
œ
to
those
that
˙
˙
œ
œ
not
˙.
œ
not that
œ
˙
œ
to
œ
those
to
those
œ
nœ
œ
that gate
gate
#œ
œ.
œ
gate
a
œ
-
œ
not
gainst
œ n˙
n˙
that gate
˙
Chorus: And call [me not to mine accounts]
20
& b œ.
œ
J
gainst
Vb
Vb
?
?
˙
œ.
me Lord,
gainst
me Lord,
∑
Ó
b Œ
œ
b Œ
œ
a
-
œ
˙
but
let
œ
J
#˙ .
˙
me
Lord,
#˙ .
˙.
let
Œ
Œ
œ.
gainst
œ
but
œ
J b˙
b˙
Lord,
Œ
Ó
œ
œ
b˙ .
but
let
œ
b˙ .
œ
œ b˙
but
let
œ
˙
en
me
me
˙
en
œ
˙
-
in.
j
œ
#œ .
me
w
en - ter
in.
˙
˙
-
ter
w
œ
˙.
me
en
œ
w
The Lamentation of a Sinner - 2
w
ter
œ
in.
œ
-
#˙
#˙
a
-
œ
Shut
˙
œ
˙
œ
not that
˙.
˙
˙
œ
∑
œ
op'n - est
˙.
˙
œ
op'n - est
Ó
their
ment
œ
œ
ment
#œ .
œ
œ
œ
œ
∑
V b N˙ .
œ
œ
gate thou
œ
∑
do
œ
˙
˙
16
?
∑
-
Vb ˙
b
˙
mer
Vb ˙
?
˙
ter
w
in.
w
a
-
œ
J
me
56
Chorus: And call [me not to mine accounts]
&b w
?
˙
And
call
˙.
b w
&b w
&b w
need
not
to
w
˙
˙
˙
˙
have
I
?b w
S
Verse
&b ˙
25
O
?b w
31
&b œ
#
?b ˙
˙
œ.
Lord thou
right - well,
œ.
˙
˙
Now
I
li
w
˙
have
˙
˙
˙
˙
˙
w
w
˙
O
Lord,
How
vile
˙
w
˙
w
˙
w
˙
w
w
ap - pear.
w
b˙
˙
˙
˙
w
my
life,
w
I
am
sure
thou
can'st
tell:
˙
˙
been
and
what
I
˙
œ
œ.
j
œ
w
˙
n˙
#œ
things
be
past,
And
eke
the things
n
j
œ
here:
w
˙
j
œ ˙
ved
w
˙
what
w
˙
sall
˙
œ œ
˙
˙
˙
˙
-
I
˙
know'st
Thou know'st al - so
˙
˙
œ
œ #˙
˙
w
w
w
˙
con - fess
œ.
œ
w
œ
˙
˙
j
œ
˙
˙
I
What
ac - counts,
˙
˙
˙
˙
mine
˙.
˙
&b w
to
not
know
˙
˙
˙
˙
˙
I
b˙
˙
œ b˙
˙
then
b w
?b
me
˙
For
?
˙
˙
w
w
w
am,
I
w
˙.
œ
what
is
n˙
œ.
˙.
œ
to
j
bœ
come,
˙
˙
˙
˙
know
œ
œ
œ
The Lamentation of a Sinner - 3
˙
w
˙
U
w
it
well.
w
˙
˙
w
u
œ
w
that
be:
w
w
œ
No - thing
œ œ
˙
thou know'st
œ
w
w
œ . œj œ
˙
˙
œ
is
œ
œ
hid from
˙
œ
thee.
w
œ
˙
Be - fore
57
36
&b
œ
œ
? b ˙.
˙
the heav'ns
œ.
40
&b ˙
?
then,
&b ˙
?
men,
b ˙
49
S
&b œ
And
T. II
Vb œ
And
B
As
b w
44
?b œ
And
?b ˙
54
&b ˙
Nay,
Vb Ó
?b
w
Nay,
?b w
œ
œ.
As
˙
œ œ
nay,
nœ
œ
˙.
were
made,
Thou
know'st
œ
J
nœ
œ
œ
œ
b˙
things
that
œ
J
have
been
since,
bœ
J
all
œ
J
all
œ
œ.
nœ
œ
œ.
things
that
have
œ.
œ
œ
œ
œ
˙
œ
˙.
can the things
Ó
œ
œ
can the things
œ œ
œ
and earth
can the things
œ œ
˙
œ
œ b˙
J
œ
œ
œ
that
I
œ
œ
have
that
I
have
œ
bœ .
that
I
œ
b˙
˙.
œ
J
œ
œ
b˙ .
thou know'st them
nay,
thou
b˙ .
been
œ
#œ
done,
˙
be
done,
˙
œ
œ
˙
˙
since,
A
˙
A
-
#˙ .
hid
Œ œ #˙
œ
Ó
œ
all
j
œ ˙
O
The Lamentation of a Sinner - 4
of
œ
˙
sons
of
men.
œ
œ
˙
œ
-
œ
nœ
den
from
#œ
œ
˙
Nœ
O Lord,
˙.
œ
œ
œ
œ.
œ
œ #˙
then?
from thee
#œ
Lord,
˙
thee
hid - den
œ
w
#˙
from
œ
j
œ ˙
sons
the
den
know'st them all
the
mong
œ
Œ
j
œ
w
be
˙
know'st them all
œ.
j
œ
Œ œ
˙.
œ
œ.
be hid
j
œ ˙
œ.
mong
˙
O
˙
˙
j
œ
thee
˙
then?
w
Ó
˙
Nay,
then?
w
œ
œ
œ
œ
˙.
O
Lord where
Lord
œ
where
œ
O Lord,
œ
were
˙
œ
œ
-
things
#œ
-
œ
j
œ ˙
œ.
œ.
b˙
j
œ
#œ .
what
w
œ.
˙
thou
œ
œ
have done,
œ
nay,
Œ
œ
bœ
œ
œ
O
œ
œ
bœ
œ.
j
œ
Lord
where
˙
58
59
&b œ
œ
they were done
Vb œ
œ
b
œ
œ
œ.
they were done
?
b
œ
œ
64
& b œ.
tears
Vb Œ
?
b nœ .
tears
˙.
and
when.
œ
J
˙
˙
Where
and
when.
Where
j
œ
w
œ.
they were done
?
w
œ
J
œ.
and
˙
Where
˙.
I come
to
thee,
œ
œ.
j
œ ˙
to
thee,
to beg,
œ
˙.
to
thee,
œ
w
œ œ
˙.
œ
child
that
œ
bœ
I
come
j
œ œ
I come
Ev'n
as the
œ œ ˙
#˙ .
œ
as the child
Ev'n
? b ˙.
bœ œ
as the
bœ œ
œ
-
œ
œ
fore with
w
˙.
tears,
where
Ó
˙
fore with tears,
˙.
œ
& b ˙.
? b ˙.
-
j
œ œ
69
œ
œ
w
? n˙ .
b
Vb
when.
œ
-
fore with
œ
œ
to
œ
œ
tears,
where
w
˙.
and
˙
to
#˙
œ
œ
˙
and
to
˙
to
to
beg
Œ
œ
œ
œ
#˙ .
to
beg
to
beg
and
#˙ .
œ
hath
œ bœ .
œ
J
˙
that hath
done
ill,
b˙ .
œ
child
that
b˙ .
œ
œ
J
˙
hath
done ill,
˙
˙
in
œ œ
-
-
˙.
And
fear
#˙
The Lamentation of a Sinner - 5
œ
-
w
treat:
˙
treat:
˙
Ev'n
treat:
w
œ
œ
œ
œ
-
œ
eth
œ
œ
And fear - eth
œ
fore with
w
And fear - eth
œ
-
œ
w
œ
Œ
œ #˙
J
in
˙
done ill,
œ.
in
˙
fore with tears
˙.
beg,
œ.
-
œ
fore with
œ œ
w
œ
-
œ
where
œ
œ
˙
œ œ
œ
œ
œ
j
#œ . œ ˙
to
be beat.
j
œ. œ ˙
to
be beat.
œ. œ ˙
J
to
˙
be beat.
˙
59
74
S
I
T.
II
& b ˙.
œ œ
So
˙.
come I
So
come I
Vb
Vb
˙.
So
B
? ˙.
b
So
? b ˙.
œ œ . j
bœ œ
to
thy mer - cy
gate,
œ œ bœ œ œ . œ
J
to
thy mer - cy
come I
to
œ
80
&b
to
gate,
mer
Œ
˙
œ
?b
∑
˙.
Re
bœ
œ œ
-
qui - ring
mer - cy
?b w
85
&b
Vb
Vb
?
?
b
∑
œ #˙
∑
bœ
œ
˙.
for
my
sins,
œ
˙.
œ
heal,
to
heal
my
œ
˙.
˙.
bœ
˙
to
heal
œ
my
œ
b˙
dead
œ
œ
œ
to
-
#˙ .
heal
#˙ .
a
˙.
œ
œ
heal
œ
˙
my
dead
œ
ly
œ
-
˙
wound,
œ
b˙ .
my
dead
œ
b˙ .
˙
my
dead
my
œ
n˙ .
œ
b˙
ly
˙
to
w
œ
-
The Lamentation of a Sinner - 6
ly
œ
œ
Œ
œ
To
˙
ly wound,
Œ
œ
˙.
To
dead
˙
heal
œ
-
ly
œ
˙.
œ
œ
œ
wound,
to
heal
my
Œ
œ
œ
œ
to
heal
my
œ
œ
œ
heal
bound:
œ
wound,
œ
-
-
heal
-
w
œ
To
ly
Œ
œ
n˙ .
dead
bound:
Ó
œ
œ
-
˙
œ
˙.
w
a
∑
œ
˙.
˙.
Œ
doth
∑
w
wound,
b
œ
cy
˙
w
a - bound:
œ
doth
bound:
œ
J
˙.
∑
∑
Œ
œ #œ .
œ
œ
w
-
mer - cy doth
œ
œ
œ
∑
To
Vb
œ
œ
a
œ
Where
-
˙
doth
Where mer - cy
˙
∑
Vb
Where
gate,
bœ œ ˙
∑
#˙ .
Ó
˙
thy mer - cy
˙
#œ
Œ
œ
Œ
˙
œ œ b œ œ œ . œj
come I
Ó
gate,
thy mer - cy
œ
Where mer - cy
w
œ œ œ . œj
œ œ
œ #œ
Œ
w
˙.
wound,
˙.
œ
my
œ
dead
-
ly
œ
to
œ
60
89
&b
Vb
œ
dead
œ
dead
Vb
?
?
-
-
œ
œ
œ
ly
bœ
wound,
to
ly
wound,
˙
Œ
˙
b
heal
œ
my
œ
œ
œ
œ
dead
-
˙
to
heal
heal
œ
œ
ly
U
W
U
W
dead - ly
wound.
˙
-
ly
wound.
˙.
U
W
œ
dead
-
w
œ œ
wound.
j
œ
œ.
#œ
˙
my
˙.
-
dead
U
W
#˙
my
œ œ
wound,
œ
dead
my
˙.
ly
#œ
œ
˙.
œ
#œ
my
œ
to
œ
œ
heal
#œ
wound,
b
˙.
˙
ly
wound.
W
u
Chorus: O Lord [I need not to repeat]
&bC w
O
˙
˙
Lord
I
˙.
? C
b w
&b w
Thou
?b w
?b w
&b w
?b
For
w
need
not
to
˙
w
œ b˙
˙
˙
know'st
O
Lord
&b w
Mer
˙
˙
-
˙
˙
˙
˙
˙
˙
˙
˙
mer - cy
˙
˙
˙
w
re - peat,
What
˙
I
do
beg
or
crave:
w
w
˙
˙
˙
w
˙
˙
˙
w
-
fore
I
ask,
The
thing
that
I
would
have.
œ
˙
˙
w
˙
˙
w
w
b˙
˙
˙
mer - cy
I
ask,
This
w
is
the
˙
to
˙
˙
˙
˙
˙
Lord
is
all
my
˙
˙
˙
˙
˙
˙
w
˙
Lord,
˙
w
˙.
good
w
w
˙
be
˙
˙
˙
˙
cy
˙
b˙
˙
˙
œ
˙
œ
˙
w
w
w
w
suite,
Lord
w
˙.
The Lamentation of a Sinner - 7
˙
˙
œ
w
˙
˙
let
thy
œ
œ
˙
˙
˙
w
-
˙
w
tal
sum:
˙
˙
mer - cy
w
w
U
w
come.
w
u
York Early Music Press
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Catalogue
Editions available now
Editor
A Gabrieli
Missa Quando lieta sperai (SATTB)
from Primus liber missarum (1572)
Peter Seymour
Victoria
Four psalms (double choir + org)
Peter Seymour
Victoria
Three psalms (double choir + org)
Peter Seymour
Victoria
Four Marian Antiphons (double choir + org)
Peter Seymour
Sweelinck
Anthology of (4) motets (SA/TTTB + bc)
Peter Seymour
Sweelinck
Anthology of (4) Christmas motets (S/ATTTB + bc)
Peter Seymour
Sweelinck
Anthology of (4) Passiontide motets (SATTB + bc)
Peter Seymour
Lawes
Psalms ‘to Comon Tunes’ (STTB-bc)
Paul Gameson
Boësset
Motets for high voices, Vol. 1
Paul Gameson
Boësset
Motets for mixed voices, Vol. 1
Paul Gameson
Boësset
Mass du troisième mode (SSSA + bc)
Paul Gameson
Boësset
Mass du quatrième mode (SSA + bc)
Paul Gameson
Gratiani
Magnificat (SATTB + bc)
Paul Gameson
Helfer
Missa Benedicam Dominum (SATB)
Paul Gameson
Helfer
Missa Laetatus sum (SATB)
Paul Gameson
Editions available March 2003
Leondaritis
3 masses
Missa Laetatus sum (SATB; SATB)
Missa Aller mi faut la verdure (SSATTB)
Missa Je prens en grez (SS/AATTB)
Miranda Caldi
Leondaritis
(38) Motets (SATTB)
Miranda Caldi
Du Mont
3 St Cecilian Motets (SSATBB + bc)
Paul Gameson
Editions planned to be completed later 2003
Boësset
Motets
Bouzignac
Motets
Charpentier
Anthology of Psalms
Purcell
Songs & dialogues
Blow
Songs & dialogues
Jeffreys
Anthems, motets
Blow
St Cecilia’s Day Ode
Purcell, D
St Cecilia’s Day Ode
Purcell, D
Occasional Odes
Blow
String trios
Matteis, N
String suites
Paul Gameson
Paul Gameson
Paul Gameson
Peter Seymour
Peter Seymour
Peter Aston
Peter Seymour
Peter Seymour
Peter Seymour
Peter Seymour
Simon Jones