The Story of the Hymns and Tunes | Page 8

subject, though once arrested as one of the "seven bishops" for his opposition to the king's religion, and he kept his oath of allegiance so firmly that it cost him his place. William III. deprived him of his bishopric, and he retired in poverty to a home kindly offered him by Lord Viscount Weymouth in Longleat, near Frome, in Somersetshire, where he spent a serene and beloved old age. He died ?t. seventy-four, March 17, 1711 (N.S.), and was carried to his grave, according to his request, by "six of the poorest men in the parish."
His great doxology is the refrain or final stanza of each of his three long hymns, "Morning," "Evening" and "Midnight," printed in a Prayer Manual for the use of the students of Winchester College. The "Evening Hymn" drew scenic inspiration, it is told, from the lovely view in Horningsham Park at "Heaven's Gate Hill," while walking to and from church.
Another four-line doxology, adopted probably from Dr. Hatfield (1807-1883), is almost entirely superseded by Ken's stanza, being of even more pronounced credal character.
To God the Father, God the Son, And God the Spirit, Three in One. Be honor, praise and glory given By all on earth and all in heaven.
The Methodist Hymnal prints a collection of ten doxologies, two by Watts, one by Charles Wesley, one by John Wesley, one by William Goode, one by Edwin F. Hatfield, one attributed to "Tate and Brady," one by Robert Hawkes, and the one by Ken above noted. These are all technically and intentionally doxologies. To give a history of doxologies in the general sense of the word would carry one through every Christian age and language and end with a concordance of the Book of Psalms.
[Illustration: Oliver Holden]
THE TUNE.
Few would think of any music more appropriate to a standard doxology than "Old Hundred." This grand Gregorian harmony has been claimed to be Luther's production, while some have believed that Louis Bourgeois, editor of the French Genevan Psalter, composed the tune, but the weight of evidence seems to indicate that it was the work of Guillaume le Franc, (William Franck or William the Frenchman,) of Rouen, in France, who founded a music school in Geneva, 1541. He was Chapel Master there, but removed to Lausanne, where he played in the Catholic choir and wrote the tunes for an Edition of Marot's and Beza's Psalms. Died in Lausanne, 1570.
"THE LORD DESCENDED FROM ABOVE."
A flash of genuine inspiration was vouchsafed to Thomas Sternhold when engaged with Rev. John Hopkins in versifying the Eighteenth Psalm. The ridicule heaped upon Sternhold and Hopkins's psalmbook has always stopped, and sobered into admiration and even reverence at the two stanzas beginning with this leading line--
The Lord descended from above And bowed the heavens most high, And underneath His feet He cast The darkness of the sky.
On cherub and on cherubim Full royally He rode, And on the wings of mighty winds Came flying all abroad.
Thomas Sternhold was born in Gloucestershire, Eng. He was Groom of the Robes to Henry VIII, and Edward VI., but is only remembered for his Psalter published in 1562, thirteen years after his death in 1549.
THE TUNE.
"Nottingham" (now sometimes entitled "St. Magnus") is a fairly good echo of the grand verses, a dignified but spirited choral in A flat. Jeremiah Clark, the composer, was born in London, 1670. Educated at the Chapel Royal, he became organist of Winchester College and finally to St. Paul's Cathedral where he was appointed Gentleman of the Chapel. He died July, 1707.
The tune of "Majesty" by William Billings will be noticed in a later chapter.
TALLIS' EVENING HYMN.
Glory to Thee, my God, this night For all the blessings of the light, Keep me, O keep me, King of kings, Under Thine own Almighty wings.
This stanza begins the second of Bp. Ken's three beautiful hymn-prayers in his Manual mentioned on a previous page.
THE TUNE.
For more than three hundred and fifty years devout people have enjoyed that melody of mingled dignity and sweetness known as "Tallis' Evening Hymn."
Thomas Tallis was an Englishman, born about 1520, and at an early age was a boy chorister at St. Paul's. After his voice changed, he played the organ at Waltham Abbey, and some time later was chosen organist royal to Queen Elizabeth. His pecuniary returns for his talent did not make him rich, though he bore the title after 1542 of Gentleman of the Chapel Royal, for his stipend was sevenpence a day. Some gain may possibly have come to him, however, from his publication, late in life, under the queen's special patent, of a collection of hymns and tunes.
He wrote much and was the real founder of the English Church school of composers, but though St. Paul's was at one time well supplied with his motets and anthems, it is impossible