FROM THE LIBRARY OF REV. LOUIS FITZGERALD BENSON. D. D. BEQUEATHED BY HIM TO THE LIBRARY OF PRINCETON THEOLOGICAL SEMINARY V5?^ CONTAINING THE FOR THE Order of Morning Service, THE Orders of Matins and Vespers, the Litany and the Suffrages of the Common JJert^ice FOR THE USE OF ^t^angePicaf But^eran Congregations with ACCOMPANYING HARMONIES FOR ORGAN edited §y, HARRY G. ARCHER ORGANIST. FIRST CHURCH, PITTSBURGH, PA. AND THE REV. LUTHER D. REED pastor, emanuel church, alleghkny, pa. editors of the psalter and canticles pointed for chanting Second Edition (Senetaf Cou'ncif Cpu6ficafion (jSoarb (m€(Si3 ^ >:& ■•5i< Copyright, 1901, by LUTHER D. REED and HARRY G. ARCHER. * \/ ^:& preface to tbe Secon& lEMtion* It is a matter of gratification that the interest in the rather special field covered by the CHORAL SERVICE BOOK has been so great as to call for a new edition within two months. We take this opportunity to record our appreciation of the very cordial reception accorded our work upon its first appearance. We regret that suflficient time has not elapsed for us to have received the many practical suggestions for improvements which might have been gathered from more extended use of the book and from sound criticism. The plates, however, have been care- fully revised and a few typographical errors corrected, while a few additional authorities have been added to the Bibliography. We have possibly been misunderstood by some who seem to suppose our chief purpose to be the introduction of the Choral Service as such — the Ministerial Intonations — into our English Services. We desire to direct the attention of such to the statement of our position in this regard in the Preface to the first edition (p. xxxviii). While several Service Books (German, Swedish, Norwegian and Finnish) received since the first edition went to press have abundantly confirmed our belief that Intona- tion by the Minister is employed universally by the Lutheran Church in her Services in every language except English, we must again afifirm that our chief purpose is the restoration of the Plain Song Responses of the Liturgy for the Choir and Con- gregation. It would have been impossible for us to have excluded the Intonations, if we had wished to do so, and have our work complete historically, theoretically or practically. We are also convinced that there are occasions and places where these beautiful and dignified Intonations, which our fathers possessed •i^ >I< fi^- ii PREFACE in the past and which our brethren in the faith in many lands and tongues use even now, may be employed in our Services with great edification. To think otherwise would be to acknowledge that English Lutheranism is something very different in charac- ter and spirit from historical, confessional Lutheranism of every other age and land and tongue, and that it has departed widely and irrevocably from the historical landmarks of the Church Uni- versal, and degenerated into a self-convicted sect. Nevertheless many practical limitations may very properly restrict the Church in her use of this feature, as they must often determine our atti- tude towards many other adiaphora. But the historic Responses present their claims upon every congregation that uses the his- toric Liturgy. The especial purpose of our work is the restora- tion of these Reponses. This we believe to be possible, so far at least as the use of the parts of the Liturgy now ordinarily sung to modern settings is concerned, in every congregation, however limited its attainments and musical resources. The Editors. Advent, 1901. * — .. * f/^ : ^ preface to tbe ffiret fibition The importance of an earnest, sympathetic study of our Service Music is unquestionable. However acceptably other arts may assist in the consummation of the communion between God and men which we are pleased to term "worship," none of them enters into so intimate a relationship with the elements of the Service, or is such a helpful factor in their expression, as Music. Architecture, Painting* Sculpture, Embroidery — all bring their offerings before the Service-hour, as it were, and stand silent in the outer court, while Music alone enters the Holy of Holies and breathes the people's prayer and praise, or voices Divine invitation and promise. The faith of the Church as confessed in her Worship is embodied in her Liturgy, and her Liturgy lives and has its active being in its music. Music effectively evokes the vitalizing and energizing content of the text. It frequently opens the way of the understanding for the latter, and so is a teacher of the Service and Faith of the Church to her children. It is, therefore, of the first importance that the hands of this priestly servant be clean, and the heart pure — that the Music of the Service be true, and in some manner worthy of its privilege. All music heard in the Church should be characterized by purity and dignity, beauty and force. But beyond this, the Service Music proper, the music that bears the text of the Liturgy, must especially possess a spirit that is devout and sub- ordinate, a form that is simple and flexible, associations that are only churchly, and a melodic beauty that appeals to and that satisfies the highest taste. It would be natural to suppose that if we could discover the melodies which grew up spontaneously ^ 4* ^ ^ iv PREFACE with the Liturgy itself, the forms which were its earliest and natural vesture, begotten of Utility but born of Art, and nour- ished by her in the Church home for centuries — could these be found we might hope to have that which in spirit as in form would be best qualified to clothe the text of the Liturgy to-day The careful, unbroken culture of many generations cannot fail to develop capacity and character. We would expect much from such birth and breeding. Nor are we disappointed when we find and study them, though to do so we must lift the stones which modern haste, superficiality and contempt for the past have ruthlessly cast upon the tombs of a well-nigh forgotten age and art. Such study, however, is by no means a mere archaeological inquiry.* It is, indeed, perhaps quite a prevalent apprehension that these early "Gregorian" or "Plain Song" melodies are simply the curious remains of an undeveloped, incoherent and rather barbaric musical system, without true artistic content or value for persons of modern sensibility and intelligence. They are supposed to represent a certain period of musical transition, a chrysalis stage, if you please, from which the freer and nobler life of modern music emerged, leaving the old cocoon as a matter of curious study to a few students of musical history. The history of Art scarcely reveals a more ignorant misconcep- tion than this. The Gregorian Chant certainly differs vastly from modern measured music, with its major and minor scales, its chromatic melodies, sustaining harmonies and measured rhythm. But it must not be judged by standards of value correct enough when applied to the latter. Gregorian music is one thing ; modern music is quite another. Each is complete in itself and has its own sphere. To understand Plain Song * In this Preface occa.sional use has been made of material embodied by one of the editors in papers read by him before the Second and Third Con- vocations of Church Musicians upon " The Gregorian Element in Church Music ' and "The Music of the Communion Service," the first of which was printed in Essays on Church Music, No 8. ►^ ■»!< PREFACE y aright we must know its characteristics, learn its purpose and breathe its spirit * We find it to be distinctively unisonous in character. There are no "parts" or "voices"; the chant is simply melody sung in unison, without the conception of harmony, upon which all modern music is based. It is not written in the modern major or minor keys, but in some twelve scales or " modes," each of which has a distinctive character by reason of a distinctive suc- cession of intervals and a characteristic relation of "dominant" to '* final," which again are not to be confounded with the "dominant" and "tonic" of modern keys. It is rhythmically free, and bears no suggestion of bars and measured rhythm, which Carl Merz has declared to be ever "the most striking trait of secularism in music." It knows no existence in and of itself and apart from the text of the Liturgy, and herein dis- plays its chief distinction while it reveals its supreme purpose. Over against the cardinal principle of the Renaissance, " Art for Art's sake," it stands for the distinctively Christian principle of "Art for Worship's sake." f It has but one absorbing desire * " It is this want of theoretical knowledge which makes so many, even among the upholders of Gregorian Music, regard the matter as a question of taste rather than of principle. People are supposed to have a predilection for " mediaeval " music as they might have for old china, or the paintings of the pre-Raffaelite masters . . ." On the contrary "in adopting this par- ticular style of music as her authorized 'song ' the Church has ever acted on principle, the principle that beauty is not an abstract quality, but consists in the fitness of the instrument for the end designed." (Walker, Plain Song Reason Why. Preface, p. v.) t Interesting examples of the insistence upon this principle are to be found in the Service Books of the Reformation period. Thus Eler, " Pro- fecto enim, ad verae et in veteri Ecclesia probata; Musicae finem assequen- dum, ut non aures solum titillet, sed simul pectoris fibras tamquam chordas tangat, et motus divinos verbis ac sententiis subjectis congruentes, in corde accendat ..." {Cantica Sacra, Praefatio, p. 5.) Melanchthon in his inter- esting Preface to the Psalmodia of Lucas Lossius declares that God confer- red the gift of music upon man chiefly in order that it might be the means of preserving and propagating Divine truth. " Sed non dubium est, prae- ^ K& ^:i^ VI PREFACE — to be permitted to clothe the sacred text in reverent beauty.* Untrammelled by excessive external requirements of " form," it spends itself in the service of the holy words, entering into deepest sympathy with their every shade of meaning and bearing praise and petition upon the waves of its noble melody before the very throne, of God. It is a veritable "song-speech," ever subordinate, first liturgical, then musical, truly a devout wor- shipper and ministering servant in the Temple of Worship. Such, then, is the character of this Liturgical Music of the Church, indeed a true music of the Church, native to it, naturally and spontaneously emerging from its own life, and not, as so much modern art, unsympathetic and un- knowing, an application from without ; pre-eminently devo- tional, elevating, reverently subordinate to the text and yet clothing it in forms of unsurpassed melodic beauty ; yielding with the freedom of natural declamation to the rhythm of the words — the very " breath of the Liturgy." It comes down to us through the centuries as a precious inheritance from an age when rude and ignorant barbarism characterized nearly every- thing outside of the innermost circles of the Church itself — a parallel to those marvelously beautiful blooms of a decaying age, the Collects of the Western Church. It formed the treasure house, the " Sacred Writings of the Church Music of the Middle Ages," as Proske beautifully said, "from which the pericopes for the true churchly style must be taken ; " f it was the foundation upon which the superstructure of a later and different musical system with a different spirit and purpose was to be built ; \ but it stands before us to-day, not a crude, un- cipuam causam esse, ut doctrina de Deo carminibus comprehensa propagari latius possit et diutius conservari." * Otto Kade calls it ''■vox verbi diviniy {Luther Codex, p. 23.) t See also Schoeberlein, Schatz, p. 15 ; Kade, Luther-Codex, p. 24. X Ambros says : '• Music has waxed strong from the mighty vitality of Gregorian Chant ; she has been formed on the base of its melodies, from the first rude attempts of the Organum^ of Diaphotiy, and Faux Bourdons, ^ ^:& PREFACE Vll developed or transitional nondescript, but a completed, fully developed art-form hoary with ages and hallowed with centuries of holy service, but with the vigor and purity of a never-fading youth.* It is therefore not essentially aticient^ but rather essentially ecclesiastical. The quality of absolute churchliness is its price- less possession. Its centuries of unbroken service at once attest its supreme fitness, and have solidified and strengthened its structure. Redolent of the prayers and praises of countless generations of fellow believers, it also possesses a wonderful and peculiar power of molding the mind and will of even the casual hearer in a devotional and reverential cast, and of im- pressing and deepening the meaning of the sacred words it bears. t What form of modern music can boast qualifications so exceptional t What effort of organist or musician of to-day, however beautiful in itself, can meet the test it bears unmoved.?:]: down to her highest perfection in the Palestrina style." {Geschichte der Musik, vol. ii, p. 67.) * " Die gregorianische Kunst ist ebenso klassisch wie die Polyphonic des 16. Jahrhunderts, jene fiir eine absolut einstimmige, diese fiir die poly- phone Umkleidung des liturgischen Textes.'* (Wagner, Einfiihrung in die gregorianischen Melodien, p. 2.) t The subtle, persuasive influence which all Art constantly exerts may not be overlooked. It is never absolutely passive. Jakob speaks of it as en- gaged in a ceaseless service. " Auch die Kunst dienet, und dienet entweder Gott oder der Welt, dem Ewigen oder Verganglichen, dem Geiste oder dem Fleische." For development of the idea of real Christian influence ( sacramen- tality) in true Christian Art, see especially the Introduction to The Symbolism of Churches and Church Ornaments, a translation of the First Book of Du- randus' Rationale Divinorum Officiorutn, by Neale and Webb, Scribners, 1893, as well as Jakob, Die Kunst im Dienste der Kirche. Krutschek's dis- cussion of the influence of music in the Church, and of the criteria by which true Church music must be determined is most excellent. {Die Kirchenmu- sik nach dem Willen der Kirche.) On this also see Bachmann, Grundlagen und Grundfragen, etc. X Baini's glowing tribute to the character and worth of the Plain Song melodies is interesting, if extravagant. " Let the musicians oppose my asser- ^1>r 'r.: — - — — ' I VI 11 PREFACE Yet at the very present time almost our only acquaintance with the system as a Church consists of a very slight and superficial knowledge of the Psalm Tones, and these often in a sadly diluted and adulterated form. It may seriously be questioned, indeed, whether a dozen of our organists in all America can sing even these eight or nine short melodies from memory. Why is this } He who would build worthily in Literature, Art, Science, or Theology cannot hope to do so without a thorough acquaintance with the principles and achievements of his particular field in the past. The musician must know Beethoven and Bach, the painter must study the masters, the author the classics, the philosopher the philosophers, the theo- logian the theologians. None can hope to ignore the genius, tion, and combat it ; they are at liberty to do so. I do not fear, notwithstand- ing, to affirm that the ancient melodies of the Gregorian Chant are inimitable. We may copy from them, adapt them, Heaven knows how, to other words, but to make new ones cornparable to the first will never be accomplished. I will not tell how that many of these melodies derive their origin from S. Damasus (367), S. Gelasius (492), and above all from S. Gregory the Great (590), — all three illustrious Pontiffs who were enlightened from on high in their work, I will not tell how others have come to us from men not less eminent for their holiness than for their learning ; monks who were bright lights of the eighth, ninth, tenth, eleventh, and twelfth centuries. And how did they prepare for their work when they set about to compose their chants ? We are not unin- formed. They made themselves ready, and strengthened themselves by prayer and holy abstinence. I will not tell what countless records attest that in assaying this kind of composition these great men were penetrated with the nature and character of the words that they appropriated to the circumstances in which these compositions were to be chanted. I will content myself by saying this, that from all these precautions united, there resulted, in the Gre- gorian Chant of other times, I know not what of the admirable and inimitable, an ineffable delicacy of expression, a touching pathos, a ravishing sweetness, always fresh, always new, always pure, always lovely ; while modern melodies are dull, insignificant, inharmonious, cold, sickly.'' {^Memoirs of Palesirina, vol. ii, p. 81.) H'elmore, referring to this encomium and succeeding denun- ciation, uses the following forceful language concerning much of the modern "sacred " music, especially many modern Hymn-tunes : " To me most mod- em tunes are altogether what they are described by him — * unmusical, cold. ►^. ^ >i'& PREFACE "1" IX the learning, the labors of the past. To thus '* ignore " and to be "ignorant" are related as cause and effect and conversely. Indeed, the church musician, of all men, can least afford to be ignorant of the foundations and early structure of his art and of its purest examples in an age when it was as yet uncontami- nated by the blasting breath of an unchurchly secularism.* For him, as well as for others, the Past has many a jewel whose lustre Time cannot dim, and which needs but a modern setting. Unfortunately the true principles of a historical liturgical and musical science have not generally guided the studies of our pastors and organists. Hence too frequently we have had retro- gression and not progression. nauseous ; ' and there are some others I utterly abhor, as being so tainted with the natural expression of frivolous, or even corrupt^ associations, that, in their very essence, they are wholly unsuitable for divine worship ; and (unless all moral and religious emotional power be denied to music indepen- dent of words) they are an insult, not only to the Divine Being to whom they are sung, but to the right-minded worshippers who are forced to hear them. They are degrading both to those who sing them and to those that love to hear them. If any plead in favor of their use that they attract the ungodly, let them believe me that they repel the well-nurtured and holy, corrupt the religious feeling of the masses, undermine the just sense of what is true in worship and chaste in Art, the handmaid of Religion ; they vulgarize what they ought to refine, profane what they ought to hallow:— in fact, those who use them with this intent are ' doing evil that good may come '—and, as in all other in- stances of a similar kind, they defeat the end for which they are not afraid to sacrifice the true to the false, the comely to the uncomely. If any deny that it is evil, I do not hesitate to say that they are too inartistic to claim the ri<:ht of expressing any opinion on the matter ; the color-blind might as well claim to judge of painting, or be set to choose an altar-piece for a church."' {Plain- Song, p. 86. ) * It is quite impossible to comprehend the contrapuntal scores of the great masters of the Polyphonic School except upon the basis of an intelli- gent grasp of the melodic, modal and rhythmic characteristics of the Gregorian Chant. It is equally impossible for any composer ignorant of these same characteristics to hope to produce anything in the lar^ xu PREFACE other Orders direct certain parts of the Liturgy to be sung but do not supply the notes, thus assuming a thorough familiarity dia, hoc est Cantica Sacra of Lucas Lossius, a Cantionale prepared for churches and schools and containing a most complete selection from the Missale, Graduale and Antiphonarium of the pre-Reformation Church. Lossius had been a pupil of Luther and Melanchthon, 1530-32, and for fifty years was professor at the college at Liineburg. Melanchthon wrote a pre- face to his work, which first appeared in 1553, and ran through many later editions. It is a Lutheran liturgico-musical ciassic of the very highest rank, and even Romanists who would seek the original form of melodies used in Germany at that period must study it, as it antedates by more than thirty years the first authoritative collection of Rome prepared by Guidetti. (See Mettenleiter's reference to it. Enchiridion Chorale, p. ix.) The edition of 1595 is an octavo volume of more than 800 pages and is divided into four books and contains Gregorian melodies to 56 Introits, 14 Hallelujahs, 31 Sequences, 206 Antiphons and 47 Responsories, as well as different forms of the Kyrie, Gloria, Nicene Creed, Litany, Proper Prefaces, Sanctus, Agnus, Funeral Chants, with the Matin and Vesper Psalms, Benedictus, Magnificat, Nunc Dimittis and Te Deum, and various festival forms of the Venite. In 1545 Johan Spangenberg published a large folio volume of 379 pages, Cantiones Ecclesiasticce, containing an elaborate de tempore arrange- ment of the historic parts of the Service with their traditional melodies. Both the Latin and German texts are given. Spangenberg was in close touch with Luther. Keuchenthal says his book was prepared '■'-jussu et impuls2c Ljttheriy ( Liliencron, Litiirgisch-tmisikalische Geschichte, P- 5i-) His work has been declared to be, next to Luther's two Orders of Service, the most weighty historical document of the Reformation period concerning the liturgico-musical constitution of the Chief Service for Sundays and Festivals. In 1588 Franz Eler published a volume of 360 pages, containing an extensive collection of Gregorian Song, prepared particularly for the Evan- gelical Services in Hamburg. Here we find the old melodies for the various parts of the Communion Service, the Introits, Kyrie, Creed, Prefaces, Sanc- tus, etc.; the Litany, Canticles and Intonations for the Psalms, 253 An- tiphons, 71 Responsories, 13 Hallelujahs, Funeral Chants, different forms for the Benedicamus, etc., as well as the German Psalms of Luther and others. These three works, though more comprehensive than some others, fairly represent a great many of similar character. For the fullest discussion of the constitution of the Evangelical Services and the retention of pre- Reformation elements, see Liliencron, and Schoeberlein {Schatz). i^ * >u- ^j PREFACE XIU with the traditional melodies which we to-day must seek in the present Roman collections of pre-Reformation music, such as Gradiiale Romanimt and Directoriuni Chori.^ It is scarcely necessary to refer to the melancholy period that beheld the Liturgy mutilated and dishonored and the Liturgical Music silent and forgotten in our churches. The insane passion for rhymed versifications and strongly rhythmical melodies, together with the rapid development of Music as an art outside of the walls of the Church and its gradual return with newly acquired florid and unchurchly content and form into the Service of the Church itself, early paved the way for the neglect of much of the old Gregorian melody, even within the Roman Church. The Lutheran Agenda of the latter half of the seventeenth century, following the Thirty Years' War during which so many copies were confiscated, were, for the most part, unchanged reprints. But Pietism undermined the structure of the historical Liturgy and its music to its almost utter ruin in a succeeding age by its all-pervading spirit of subjective indi- vidualism, even though it professedly retained the essential elements of the historic order for the public services. Cold, calculating Rationalism, having lost the faith, cared nothing for the form. Rather, it could not use the historic forms because their very words were a living testimony to the purer faith of the historic Church and a protest against the heresy of that day. The sermon, as a means of intellectual edification, became the centre of the Service. Introit, Kyrie and Gloria were com- pletely suppressed ; the Preface was converted into an Exhorta- tion and the Church Prayer with its objective spirit and comprehensive meaning was completely lost in the new effusions. The Prayer of our Lord and His Words of Institution in the Holy Supper were retained as essential elements, but even here * For the same reason, doubtless, Merbeck omitted the Litany and complete provision for the use of the Tones for the Psalms in his book for the English Liturgy. * ^:& XIV PREFACE colossal egotism laid its impious hand.* These radical and complete departures were fostered by private agendas and col- lections of forms and prayers which now generally supplanted the old Church Orders. Particular States even gave individual pastors permission to conduct all liturgical matters according to their own pleasure.f The ruin was complete. The historic music could not survive the death of the historic Liturgy. They were buried in the same grave.:]: The mighty movement for the reform of the evils of Pietism and Rationalism and a return to the historic landmarks in faith and worship was inaugurated by Frederick William III in the Prussian Age7ide of i822.§ Though sharply, bitterly criticised * The Schleswig-Holstein Agende of 1797 has the following : "Vater, unser aller Vater im Himmel, der du uns Jesum zum Lehrer, zum Vorganger, zum Erretter und Seligmacher geschenkt hast, o lass das Reich der Wahr- heit und der Liebe, das durch ihn auf Erden gestiftet worden, sich auch unter uns immer weiter verbreiten ! " et cet., ad nauseam, ioUowed by the Verba, unchanged. (P. 227.) Kiimmerle [Encyklopddie, Art. Liturgischer Gcsajig) gives the following form of the Verba proposed by Horst {Myste- riosophte, i2>\'j): " Dir, Gott und Konig, weihen wir dieses Brot. Dir, Gott und Konig, weihen wir diesen Trank. Christus sprach, Nehmet, esset, dies ist mein Leib," etc. In place of the Sursujn cor da Horst suggests " Erhebe Jeder von uns nach seiner Fassungskraft nun Sinn, Herz and Geist zur unsichtbaren Welt," etc. t Thus Hannover, in 1800. (Rietschel, Lehrbuch, p. 447.) X The process, however, was not uniform. In some places the Verba, Lord's Prayer, etc., with their ancient melodies were never lost. (Bavaria, Saxony, Mecklenburg.) In others remarkably full provision for the use of the historical forms is found very late in the eighteenth century, while in Niirnberg even the Latin language together with the old melodies continued in use well into the nineteenth century. (See Liliencron, Liturgisch- musikalische Geschichte, and Herold, Alt-Niirnbej'g in seinen Gottes- diensten.) ^ It is interesting to note that as early as 171 1 Frederick I of Prussia had endeavored to reform the public worship of the Church. He proposed, as a basis for the union of the Lutheran and Reformed, the introduction of the Liturgy of the Church of England into all the churches of his kingdom. His suggestion, however, met with no favor. (See Alt, Der christliche ^ * ^:< PREFACE XV and opposed by Schleiermacher and others, its influence in direct- ing the current of liturgical development back again into historic channels was immeasurable.* Reawakened appreciation of the historical Liturgy brought with it renewed study of its true Music. The generation that was not ashamed to learn from a former age in the matter of faith and forms of worship also realized that the true Art of the future, sacred or secular, will be that which will earnestly and intelligently study the best models of the Art of the past. So when we inquire concerning our fellow churchmen of recent years — men whose musical scholarship, as well as their religious convictions, entitles their opinions to the deepest respect — we learn that a deepening liturgical insight and feeling as well as the most profound study in every department of Church Music led them to a common source. When Hommel in his Litiirgie huherischer Gemeinde- gottesdienstey Loehe in his Agende, Kraussold in his Miisikalische Altaragende, Layriz in his Kern des deutsche^i Kirchengesangs, Petri in his Hannoverian Agende, Schoeberlein and Riegel in their Schatz des liturgischen Chor- und Gemeindegesangs, Klie- foth and Otto Kade in their magnificent Cantionale fiir die Cultus, vol. i, p. 316.) This was an early recognition of the doctrinal in- definiteness of the Book of Common Prayer, so evident at the present time when the very extremes of theological opinion are able to unite in its use and even profess to see in it confirmation of their radically divergent beliefs. ^ The king had no sympathy with liturgical confusion, bare and in- artistic services and arbitrary individualism on the part of pastors, so char- acteristic of the period. Eylert was commissioned by him to prepare a new Agende, but he failed to meet the king's approval. The latter replied to Eylert, "Vorlhrem guten Willen habe ich alien Respekt, aber Sie sind in den Fehler aller gefallen, die neue Liturgieen und Agenden geschrieben haben, Sie haben den historischen Boden verlassen. Das Christenthum ist eine historische Thatsache, ebenso die Reformation ; diese ist aus jenem her- vorgegangen. Die Gegenwart begreift man nur aus der Vergangenheit, beides hangt zusammen, wie Ursache und Wirkung . . . Alle Liturgieen und Agenden, welche in unserer Zeit erschienen, sind wie aus der Pistole geschos- sen Wir miissen, soil etwas aus der .Sache werden, auf Vater Luther recurrieren." (Rietschel, Z,^//r<^7/r//, p. 448.) * ^:& ■'^ XVI PREFACE evangclisch-lutherischen Kirchen im Grossherzogthum Mecklen- burg-Sc/iwcrifi, gave to the world the results of their years of study, they set the text of the Liturgy to its beautiful historical melodies. The editors of the new Agende in Saxony, the Agende for the Lutheran Church in Prussia, as well as Herzog in the Bavarian Agende and Herold in his Vesperale, have done the same. Here we find our pure Liturgy come to its own again, and enshrined in melodic forms of incomparable dignity and beauty. The new Agende for the Evangelical Lutheran Church of Sweden (1894) stands upon the same historical basis, and supplies the ancient Gregorian melodies for every part of the Liturgy, ministerial Intonations, congregational Responses, and distinctively Choir numbers.* The best Anglican editors have long since provided their Service with its proper liturgical music.f And be it observed that this incalculable labor and i * in u si ken till Svenska Mass an, and Ur Musi ken till Svenska Mds- san Altarsdngen, Stockholm, Georg Lundquist. The editors state that "in the preparation of the music, both accentiis and concentus, the Commit- tee used the ancient musical literature of the Lutheran Church, in the first place that of the Swedish Church and then that found in the different Ger- man provinces as well as among the Bohemian and Moravian Brethren." Some idea of the complete de te7npore provision made in this Agende may- be gathered from the fact that no less than 11 different melodies are given for the Kyrie, 8 for the Gloria in Excelsis, 9 for the Sanctus, 10 for the Agnus, etc. For an interesting review of this work and a German translation of the entire Introduction to it, giving an historical sketch of the Swedish Grego- rian liturgical music, see Siotia, 1898, May-July. t The history of Plain Song in England after the Reformation was most unfortunate. The single native work of the Reformation period con- taining the historic ritual music is The Booke of Covinion Praie?' Noted of John Merbecke (1550). When compared with one of our many continental Agenda and Cantionales it appears pitiful in its poverty. And yet Helmore, though anxious to support his argument — that Plain Song was used by the Protestants after the Reformation— by means of examples of continental usage, knows only of Loss! us and the jYeu Leipzigcr Gesangbucli ! {Plain- Song, p. 66.) The book of Merbecke provides music for the Matins, Even Song, Holy Communion and Burial of the Dead of the First Prayer Book of Edward the Sixth. It contains only the very simplest ferial forms of a very ^ >^ ■ ■ ^ PREFACE xvii study means far more than the mere resurrection of ancient forms ; it means the study and application of forgotten but most important principles. In the light of the testimony and work of the Reformers and the practice of our fellow churchmen abroad to-day, it becometh us seriously to examine our own possessions and practices. We must acknowledge that these treasures are but little known and less used among us, especially in the English part of our Church in this country. Our beautiful historical Liturgy, it is true, has been, though very recently, restored to us and is in general use. A study of the music of the Liturgy, however, did not accom- pany the study of the Liturgy itself, and contemporary organists were called upon to clothe these venerable forms of devotion with their own private compositions. Cruelly divorced from limited number of melodies. These, in deference to the wish of Archbishop Cranmer — that not more than a single note should be placed to a syllable of the text — have been rigorously pruned and shorn of much of their beauty. Even Helmore (p. 54) admits that " the ancient beauty of Church Plain-Song was greatly marred." Dyce affirms that there is not "in existence a single document that affords evidence of its (Plain Song) having been practically studied, or even cared for, from the time of Merbecke and Tallis down to the Restoration under Charles the Second." {Appendix^ p. 4.) Beginning with Dyce's reprint of Merbecke's book in 1843 very great attention has been given to the study and restoration of the true liturgical music. The pre- Reformation Graduals and other office books of Salisbury and other Cathe- drals have been most carefully and artistically reprinted. Wherever possible with the present text of the Prayer Book, Dyce, Helmore and others simply give Merbecke's forms for the Responses, etc. The later Editors (Doran, Nottingham, Thompson, Walker, Stainer, etc.) have made a more compre- hensive study of the whole system of Gregorian Chant in every portion of the Church, and freely avail themselves of the forms given by Guidetti in Directoriiim Chori^ though not always particular to give him credit. The American Book of Common Prayer oi the Protestant Episcopal Church has been provided with Plain Song melodies by many editors : Messiter, Hutchins, the editors of the Tucker Hymnal, etc., as well as by Dr. Stainer in the superb Altar Book edited by Daniel B. Updike and Harold Brown, laymen of the Diocese of Rhode Island. (Boston, 1896. Edition of 350 copies.) ^ * •5^ XVIU PREFACE its natural companion, the Liturgy has been unequally yoked together with an effeminate liturgical music that is devoid of dignity and virility, and utterly unable to rise to the demands of truly liturgical content, form or feeling. Our German text has, indeed, been supplied with melodies based on historical forms.* In the matter of the Choral (Hymn Tunes) much has been done to give us in the English part of the Church, the best. But with reference to our Service Music itself we have yet to fully appreciate the far-reaching importance of the fact that the Liturgy and its Music together form a unit, and that to divide them is often to render both unintelligible. The Liturgy must be studied in the light of its Music, and the Music in the light of the Liturgy. Such a study the Editors of this volume proposed for them- selves, and its results are now presented. Though in spirit and form it may appear new to many, it will be found to be as strongly rooted in the best and purest periods of the Church's history as is the Liturgy itself. As will at once be seen, it in- cludes the artistic expression of every part of the Service — the Intonations of the Minister as well as the Responses of the Congregation. For it is not sufficient to satisfy the present needs of the smallest and least equipped congregations. A * In Endlich {Choralbuch mtt Litiirgie unci Chorgesdngen)^ whose work has received cordial recognition by other editors. (Lochner, Der Haupt- gottesdienst der Ev.-Luth. Kirche^ p. 58, 67, etc.) The authorized setting of the General Synod edition of the Common Service also seeks to provide a considerable number of historical forms. In this, however, it is entirely de- pendent upon Schoeberlein, Layriz, and the Mecklenburg Cantionale^ and con- sequently the melodies it does give are an adaptation of an adaptation of an adaptation, and that bound and fettered in modern bars and measures, in- stead of an independent study and application of original forms in their natu- ral freshness and freedom. The few historical Gregorian melodies that have found a place in our other English Service Books have likewise too often not been taken from first sources, and have been similarly enslaved. This shack- ling of Gregorian melodies by modern measures of equal time value and mechanical accent is more than imprisonment. It is death to Plain Song. The resultant is a tcrtium ^///V/that is neither Plain Song nor modern music. 'f^ -»i< ^:& * PREFACE XIX ground plan upon which all can stand, indeed, must be fur- nished ; but it is also necessary to supply the finished super- structure, into which the stronger and more gifted may enter, and which they may adorn with their later offerings. Altar Song is deeply rooted in religious life.* The factors of utility and art united in aiding its development in the Chris- tian Service. " Intonation " was the most effective, if not the only, means of carrying the words of the speaker into remote portions of great buildings.f But, besides this, the development of distinctive characteristics in every part of public worship of the Church, differentiating it from affairs of ordinary life, speed- ily led to the recitation of the liturgical text in a language dif- ferent from the ** workday" language of secular life, in an ideal, sacred tone, in which the necessary modulations of speech were controlled by simple but definite musical laws. Intonation and Response came into being together, and are often complement- ary in their melodic structure. The reading of the Service in a colloquial tone was a species of mutilation and iconoclasm intro- duced by the Reformed type of theology, and quite on a par with its other vicious attacks upon Ecclesiastical Art. On the Dther hand, the retention and cultivation of the so-called accenttis (minister's intonations), as well as the concentiis (choir and con- gregational response) of the ancient Service Music, became a * Edward Dickinson, in his scholarly discussion of " The Ritual Chant in the History of the Catholic Church," in the periodical Music (Dec, 1897- Feb., 1898) says the Gregorian Chant is " a projection into modern art of the altar song of Greece, Judaea, and Egypt, and through these nations reaches back to that epoch of unknown remoteness when mankind first began to con- ceive of invisible powers to be invoked and appeased." Max Miiller expresses the opinion that priestly song of similar 'character is to be met with in every language. (Quoted by Lyra, Die Liturgische Altarweisen, p. 4.) t Cf. the quaint rubric in The First Prayer Book of Edward K/(i549». '''And [to thende the people may the better heare) in such places where they doe syng, there shall the lessons be songe in a piayne tune after the manner of distincte ready ng: and lykewyse the Epistle and Gospell."' ^ ^^- XX PREFACE ^^ distinctive mark of Lutheranism * In many places, the Altar Song was never entirely lost in our churches. The new Agenda and Cantionales of Germany and Scandinavia universally supply it, while in very many of our German and Scandinavian Lutheran churches in the United States the Minister's Intonations are regularly used at present, f * " Wahrend die reformierte Kirche den gregorianischen Gesang durchaus aus der Kirche entfernte, und die Schwarmgeister, vor allem Karl- stadt, gegen denselben mit Entschiedenheit vorgingen, behielt ihn die hitherische Kirche, sowohl im Accentus wie Concentus, in der damals iiblichen Form bei." (Rietschel, Lekrbuch, p. 470.) For an interesting account of the rules governing the accenttis at the time of the Reformation see Lyra's Andreas Ornithoparchus und dessen Lehre von den Kirchen- accenten. t Though almost, if not entirely, unknown in the English part of our Church in this country, it is scarcely necessary to demonstrate the proposi- tion that the intonation of the minister's parts of the Service is in no sense a violation of Lutheran principle or usage. History clearly shows that this was one of the "usual ceremonies" which Art. XXIV of the Augsburg Confession affirms " are also preserved." All that has been said above with reference to the retention of the historical liturgical music in our churches of the Reformation period applies to the accentus as well as the concentus. The first German Mass was held in Wittenberg on Christmas Day, 1525. It was a full " Choral Service," being sung^ not said. For Luther provided complete intonations for the pastor, his plan including the choral reading of the Collects and the Gospel and Epistle. Matins and Vespers of this period, and indeed for a century and a half, were almost entirely sung, not read, in our churches. Among the more important Agenda and Cantionales that we have been able to consult, the following, with their numerous reprints of the seventeenth and eighteenth centuries, supply the musical ?iotes for the Intonations of the pastor; Braunschweig, 1531; Brandenburg Niirnberg, 1533; Mark Brandenburg, 1540 ; Veit Dietrich, 1546; Mecklenburg, 1552 ; Spangenberg, 1545 ; Lossius, 1553 ; Eler, 1588 ; Onolzbach, 1627 ; Pfalz Zweybriick, 1570; Prussia, 1558; Wittenberg, 1559; Pommern, 1563 ; Olden- burg, 1573; Saxony, 1539; Liineburg, 1564 ; Hessia, 1574. Many others give directions for certain parts to h^ sung by the pastor ''cum usitato tono,'' "mit gewonlichem accent^"" ^ic. The rubrics in First Edward (1549) also direct the priest to intone parts of the Service. Intonation has been very generally revived in Anglican and Episcopalian churches in the last fifty years. All the modern German authorities referred to in this Preface * ^ PREFACE Xxi We have availed ourselves, in our work, of the results of ; scholarship and musicianship, wherever found. Any light thrown upon the subject by Roman and Anglican liturgiologists and musicians was gladly welcomed. The problem before us could not be solved by mere invention and original composition,* nor by the mere study and translation of the particular forms which our German fathers used. It required a study of the whole sys- tem of liturgical music which they employed, and a selection and adaptation of the very best that system affords, wherever it may be found. The Art of the Church is catholic, and belongs to every part of the Church. We would no more refuse the help of scholars and artists in other communions than we would re- ject the Hymns of pre-Reformation and un-Lutheran writers from our Hymn Books, so long as both speak truly. As we have already indicated, it is frequently necessary to refer to the Roman Gradual or Directorium Chori for the very melodies prescribed but not printed in some of our early KOO. The authentic Roman Office Books have also had from the beginning the ad- vantage of more general usage than our own Orders, which were largely local in influence, and they have also repeatedly received the most thorough revision by the highest scholarship from the inestimable labors of Palestrina and Guidetti to the work but recently completed.f In sometimes preferring their forms to have provided the Intonations for our Church in Germany. The new Swedish Agende contains them. Such intonation is perhaps the rule, or at all events quite customary, in the Scandinavian and Missouri Synod churches as well as in some well-known German churches of the General Council in this country. Endlich in his setting for the German text of the General Council Liturgy supplies melodies for the pastor's Intonations. * Palestrina himself in his revision of the Liturgical Song of the Roman Church did not once call into exercise his own marvelous inventive genius. That found its legitimate sphere elsewhere. In the determination of the melodies for the text of the Liturgy itself he recognized the fact that musical knowledge and editorial care were the prime and only requisites. t For complete account of the Roman Office Books, early editions, authentic revisions, recent controversies between the " archaeologists " and -i, .J* »:^- ^^ XXII PREFACE local German uses, we have the most ample precedent of our own German editors, as well as of many of the Anglican and Episcopalian school.* We submit the following notes of the sources from which we have taken the melodies for the individual parts of the Service. t the adherents of the "Medicaean" school, with the final outcome, etc., see J. N. A hie. Die Choral-Ausgabe der heiligen Riten-Congregation, 1895. Haberl, Magister Choralis (p. 89 ff.\ also gives a brief though satisfactory enumeration of the Books. * It is impossible to estimate the service done Plain Song by Palestrina and Guidetti. They greatly simplified the Chant, cutting out the involved and senseless nenmcs and preserving the essential features of the melodies. Their task was performed with such a rare blending of artistic intelligence and religious feeling that their work has ever been a classic norm. The modern German editors universally accord it the highest authority, though often giving variant forms of local interest. {Cf. Herzog's admission that the original form of the Versicle Tone is the simple minor third of Directo- ruim Chon\ and that the passing note he gives in the musical Appendix to the Bavarian Agende was retained in conformity with local traditional use, in Siona, January, 1898, p. 9.) fin these notes the following abbreviations have been used : — Armk.— Armknecht, Die Haupt- und Neben-Gottesdienste (1853). Bav. — Musik. Anhang zur Agende fiir Bayern (1883). B. Nb. — Brandenburg-Niirenberg KO (1533^. D. Ch.— Directorium Chori (1582, 1889). D. & T. — Doran and Thompson, The Ritual Music of the Altar (1875). D. & N. — Doran and Nottingham, A Noted Directory of Plainsong (1889). El.— Eler, Cantica Sacra (1588). End. — Endlich, Liturgie und Chorgesange (1879). G. R. — Graduale Romanum (1889). Her, — Herold, Vesperale (1893). Hom. — Hommel, Liturgie lutherischer Gemeindegottesdienste (1851). Hut. — Hutchins, Chant and Service Book (1894). Keuch. — Keuchenthal, Kirchen-Gesenge Latinisch und Deudsch (i573\ Kr. — Kraussold, Musikalische Altaragende (1853). Loch. — Lochner, Der Hauptgottesdienst der Ev.-Luth. Kirche (1895). Loh. — Lohmeyer, Evangelisches Choralbucii. Nebst einer Zugabe fiir die Liturgie (1867 V Los - Lossius, Psalmodia 0595)- ^ ^ ^^ PREFACE XXlll The public Service of the pre-Reformation times began with the Introit. A form of Confession was provided for the private use of the priest in the sacristy, and from this pv\v:\.tQ prcsparatio in missam some of our early Orders developed a form of public Confession for the entire congregation. All that precedes the Introit in our Service is therefore simply an adaptation in text and even purpose, and is necessarily without historical melodies. Our setting is in consequence an adaptation also. The INVOCATION is set to a traditional melody, widely used (Schoeb., End., etc.); the EXHORTATION is given in monotone (as Merb.) ; the VERSICLE has the simple Versicle- form (a minor third — D. Ch., Schoeb., M. Cant., Hom., Her., End., etc.), and the CONFESSION takes the beautiful Cofifiteor melody in D. Ch., which D. & T., Wk., St., Hut., Tk., and other Anglican and Episcopalian editors have also used. The DECLARATION OF GRACE, as a Gospel message, has Lud.— Ludecus, Missale and Vesperale et Matudnale (1589). Ly. — Lyra, Die liturgischen Altarvveisen (1873). Lz. — Layriz, Kern des Deutschen Kirchengesangs (1875). M. Cant. — Mecklenburg Cantionale {1868-87). Merb.— Merbecke, Booke of Common Praier Noted (1550). Mess. — Messiter, Choir Office-Book (1894). Onolz. — Libellus continens Antiphona, etc. . . . Quae in Ecclesia Onoltz- bacensi et Heilsbronnensi decantantur ( 1627). Pet.— Petri, Agende (1852). Pom. — Pomeranian KO (1563). Pruss. — Agende fiir die Ev.-Luth. Kirche in Preussen (1886). R. Pf.— Kirchenordnung . . . des Fiirsten Wolffgangs, Pfaltzgrauen Bey Rhein (1570). Sax.— Agende fiir die ev.-luth. Landeskirclie des Konigreichs Sachsen (1881). Schoeb. — Schoeberlein, Schatz des liturgischen Chor- und Gemeindegesangs (1865-72). Spg. — Spangenberg, Cantiones Ecclesiasticae Latinae, etc. ( 1545). St.— Stainer, The Cathedral Prayer Book (1895). Tk. — The Service Book. By the Editors of the "Tucker Hymnal." 11895.) Wk.— Walker, The Plain-Song Reason Why. *b .J, ^.^ XXIV PREFACE 4 been given the simple inflections for the Choral Reading of the Gospel itself. The INTROIT properly belongs to the Choir. Any other disposition of it is simply a makeshift, which, indeed, the exi- gencies of the case may have justified the Reformers in making in the smaller towns and villages, where it was given to the Pastor or converted into a Hymn for the Congregation. They, however, provided for the true rendering in their larger formu- laries, where the original Introit melodies are given in full (Spg., Los., EL, Onolz., etc.). The rubric in the United Synod of the South edition of the Common Service prescribes the proper choir use. The Introit should be sung to its own melody, a free form of composition. The Editors hope to follow the present volume with another containing all the Introits and Antiphons set to their proper melodies, but for the present have provided a setting for all the Introits to the Psalm Tones, the use of which has rubrical permission (U.S.S.).* The melody of the KYRIE is from Luther's Deutsche Messe of 1526, and is generally given by modern editors. (Thus Schoeb., M. Cant., Sax., Loh., Loch., Hom., Pet., Bav., Pruss., End.) When incorporated into the early Reformation Services the GLORIA IN EXCELSIS was either sung in Latin by the choir boys or given to the Congregation in the form of a metri- cal German hymn (" Allein Gott in der Hoh sei Ehr"). The majority of the melodies to the Latin text, as given in G. R., Spg., Los., EL, Pom., Hof, R. Pf., and many other of our Can- tionales, are quite involved, and the German Gloria of Strass- burg and R. Pf. (given by Schoeb., M. Cant., Bav., Lz. and End.) cannot readily be adapted to the English words. Mer- becke's Gloria, which is given in all the Anglican and Episco- palian collections, is mechanical and hard with its single note to * Cf. the Kantional zur Liinebu7-g'ischen Kirchenordnung^ Hermanns- burg, 1S60, where the Introits are set to the Psalm Tones according to George Major. ^H PREFACE XXV a syllable. Fortunately the beautiful Gloria in Festis solemnibus of G. R. lends itself most naturally and easily to the English text, and a melody more satisfactory or beautiful could not be wished for. The SALUTATION and OREMUS have the simple, dig- nified monotonic form invariably given in D. Ch. and found also in Onolz. and Merb. The COLLECT inflections are also from D. Ch., and are the simplest that could be given and the best adapted to our historical series of Collects. The inflections given in Lud., Hof, Onolz., and other early German KOO cannot compare with these in simple dignity and beauty, while many of the modern German Cantionales have departed widely from the beautiful simplicity of the early Collect-structure, both in text and mel- ody. Hom., Loehe, Armk., Loch., Wk., St., and D. & T. also give the D. Ch. inflections. For the sake of historical completeness, we supply the necessary rules for the Choral Reading of the EPISTLE and GOSPEL. The rules of Deutsche Messe, Saxony, 1539; Pom., and other early KOO are exceedingly complex, and we give the simpler ones of D. Ch. (As D. & T. and St.) The simple HALLELUJAH is from Los. (Schoeb., Pruss., End.; The HALLELUJAH AND SENTENCE presented exceptional difficulties. Our text has undoubtedly been deter- mined by Schoeb., and he has been compelled to modify very considerably the melodies which he gives from German sources. In the great majority of instances the German melodies are but adaptations of earlier Latin originals.* Our conviction was early formed that the best results are to be obtained from the originals rather than from the adaptations. A little further search usually discloses back of the German forms, which indeed * The work of the early German editors is of very unequal merit. See Lyra's complaint of the " Unsicherheit der Feder " of Spangenberg. {Die Liturg. Aitarweisen, p. 56.) Many editions are very inaccurate. The Wit- tenberg edition of Lossius, 1595, is crowded with the most palpable errors. XXVI PREFACE may have entirely determined our text, a Latin original for the melody. Further study but emphasized the importance of this principle, which we have endeavored to follow as consistently as possible throughout our work. Hence we abandoned a series of melodies prepared from Elizabeth, Spg., and Hessia, and submit a series adapted from the earlier Latin originals of the text as found in Introits, Communio and Graduals. Unable to discover any earlier form for the first Sentence for the Trinity Season we have used the melody given with the German text in Strass- burg, 1525. The GLORIA TIBI and LAUS TIBI are assigned the simple Versicle-form, as in D. Ch. The melody for the NICENE CREED is from G. R. (as in Schoeb., M. Cant., etc.). The APOSTLES' CREED very rarely appears arranged for chanting. It is impossible to use the melody given in R. Pf. and El. and used by later German editors, and we have followed Merbecke (as St., Tk., etc.) and give it in monotone. The OFFERTORY, as a portion of Psalmody, is set to the beautiful Sixth Tone. The historical PREFACE melody, like the Preface itself, has had the earliest and most general usage perhaps of any part of the Liturgy. The critical study of Palestrina and Guidetti undoubtedly gave us the purest form in D. Ch. With but few exceptions the numerous German Orders which give the local uses of their time and place, vary but slightly from the Latin original Spg., Meek., Los., Pom., Saxony, Elizabeth, etc., etc., all have it. In all places and in every age this melody has made the most wonderful impression upon the Church. It is simplicity itself, containing, as it does, but four notes* When it became necessary to supply a melody for the Words of Institution, ♦Mozart declared that "if lie could truthfully say that he was the author of this melody, he would c^ladly forego whatever other musical repu- tation he might possess."" -^ ■ ►i* PREFACE XXvii which hitherto had been repeated in silence, Brandenburg- Nurenberg, the Austrian and Lutheran Pfalz Orders seemed to turn instinctively to the Vcre Digniim portion of the Preface melody as a worthy setting for this most solemn part of the. Liturgy. Modern Anglican editors have been influenced by its remarkable purity and power to forsake the monotonic Preface of their own Merbecke and the hundreds of modern original compositions by nearly every organist of repute in their Com- munion, and give it the place of honor in their Collections. (Thus Wk., D. & T., St., Lee, TL, Hut, Stubbs, etc.)* Our modern German editors without exception employ it. (Thus Armk., Kr., Schoeb., Lz., Hom., M. Cant., Loehe, Pruss., Loch., Sax., Loh., Bav., Pet., and Endlich.) It also appears in the form of a local v^ariant in the new Swedish Agende. Fortunately it lends itself most happily to our English text and almost without the slightest change we are able to restore this most beautiful of all melodies of the Ancient Church to its true place in our Service. The SANCTUS is from G. R. and Lud. Merbecke's Sanctus in the Burial Office is a variant of this. M. Cant., Lz., Schoeb., Sax., Bav., and Pruss. also give it. The melody given for the LORD'S PRAYER is from D. Ch., and like the Preface melody has found its way with but few changes into nearly all the early Orders. Even Merbecke appears to be based upon it, while modern German and Anglican editors generally give it. (Thus Hom., Loehe, Schoeb., Pruss., Armk., Lz., Bav., Kr., Sax., Loch., Pet., Loh., Mess., D. & T., Lee, etc.) The Doxology is wanting in the Roman and in most * Few English editors are as frank as Jebb, who declares " there is no trace in the Church of England of that which forms a remarkable feature in the Latin Service, namely, the various intonations of the Preface for dif- ferent seasons." \^The Choral Responses^ p. 2.) The majority leave their readers under the impression that the D. Ch. melody which they give is an ancient Sarum use, and some have most untruthfully credited it to Merbecke. * ^ ^ xxviii PREFACE of our Orders. The form we give is constructed upon the characteristic figure of the melody in the earlier part of the Prayer. As already indicated, the VERBA TESTAMENTI are not sung, but repeated in silence in the Roman Church. When the Reformers directed them to be sung it became necessary to supply the melody. Luther, in his Formula Missae, orders the Verba to be sung in the Tone of the Lord's Prayer in the Canon. In the Deutsche Messe he gives a second form for the German words, perhaps borrowed, as Kiimmerle suggests, from his Gospel Tone. His earlier suggestion as to the employ- ment of the Tone of the Lord's Prayer, found its first printed realization in Bugenhagen's Order for Braunschweig, of 1528. This met with very general favor and was adopted by many Agenda, especially in Northern Germany. A third melody for the Verba was constructed from the Preface melody, as already mentioned (B. Nb., Austria, etc.). We have chosen the form first given in Braunschweig, 1528, and in this respect follow the majority of recent German, and the Swedish editors. (Armk., Loh., Shoeb., Pruss., Bav., Kr., Pet., Swed. Ag.) For the AGNUS DEI we supply the beautiful melody of the German Agnus, " Christe, Du Lamm Gottes," first appear- ing in Braunschweig, 1528, and later in a great number of KOO, as well as in all the modern German Cantionales and Agenda. (Thus in this place in Horn., Loehe, Lz., Pruss., Bav., Schoeb., Sax., etc.) The PAX has the D, Ch. melody, from which the Deutsch Kirchenampt of Erfurth, 1526, and other early Orders, as well as the Swedish use, vary but slightly. The NUNC DIMITTIS has the Second Tone; the THANKSGIVING VERSICLES, COLLECT and SALU- TATION are given as before, and the BENEDICAMUS is from D.Ch. Nearly all the forms given by the Orders for the BENE- DICTION are constructed upon the interval of a minor third. ^ — , ^ t ->i< PREFACE XXIX We give the simplest. (From Lud., and employed by Schoeb. and M. Cant.) The setting for MATINS and VESPERS is the one already provided by us in our Psalter and Canticles with the addition of the Minister's Intonations. The different forms given in Merbecke and our own Lude- cus and Hof for the VERSICLES {Do7ni?te, labia mea and Dens in adjntoj'iu7n) and the GLORIA PATRI, are quite similar in structure and appear to be local variants of a common original. We have chosen the D. Ch. melody, upon which Layriz has un- doubtedly constructed the melody which he gives and which is frequently found in our modern works (Her., End., etc.). The INVITATORY is peculiar to Matins. In its original form (Los,, Lud., D. Ch. and given in Schoeb. and M. Cant.) each Invitatory has its own melody, and the VENITE is sung with it to a free melody in the same tone. According to this usage the two divisions of the Invitatory are alternately sung after every two verses of the Venite itself. Inasmuch as our present use of the Invitatory is a considerable departure from the early usage we have not deemed it necessary to give the original melodies, and have simply assigned the Versicle Tone to the standing Invitatory (as Layriz, p. VIII). The Special Invita- tories provided for the Festival Days can readily be set to this same simple inflection.* We give the Venite to the Eighth Tone, but have already provided seven other settings for it, one to each of the Psalm Tones. i We must again refer to our previous work in which we have made complete provision for the PSALMODY.J The entire * The invariable rule governing the treatment of monosyllabic and polysyllabic endings must be carefully observed. (See Psalter and Canti- cles, page 433.) t /bid., pp. 408-15. X The principles of pointing there advocated have received abundant confirmation by further study and by successful use. Attention is called to an edition containing the Choral Service Book and The Psalter and Canti- cles bound together, which may be had of the Publishers. f * XXX PREFACE. series of Antiphons set to their original melodies is in course of preparation. Many of the early Orders prescribed the Choral Reading of the LESSONS '' c?im usitato tono." The rules we give are from D. Ch. The TU AUTEM DOMINE and Response DEO GRA- TIAS after the Lessons have the D. Ch. inflection. {Cf. Schoeb., p. 615.) The TE DEUM is given its ancient melody, popularly called the melody of SS. Ambrose and Augustine. This is found in Los., El., Keuch., D. Ch., and much simplified in Merb. as well as in Schoeb. Not only has the beauty of this old mel- ody led many of the great composers to select it as a canto ferma for their polyphonic compositions (Palestrina, Anerio, Jakob Haendl, etc.,) but it has impressed itself most deeply upon the popular mind where it is known. In Italy the peasants as well as the inhabitants of Rome are said to know it by heart and to sing it with the greatest enthusiasm at the solemn Thanksgiv- ing Services. An exceedingly simple setting of the Te Deum to the Eighth Tone is also given in The Psalter and Canticles (p. 378), where the BENEDICTUS, MAGNIFICAT and NUNC DIMITTIS are also given to each of the Psalm Tones. In this volume we have simply chosen Tone II for the Benedictus, and Tone VI for the Magnificat and Nunc Dimittis. The KYRIE melody is the beautiful one of Merbecke.* There is no historic precedent for the chanting of the LORD'S PRAYER by the Congregation, unless we except Merbecke's provision for the chanting by "the Ouere with the Priest " in monotone until the petition Lead ns not iftto temptation^ which is sung by the Priest to the Versicle inflection with the ♦ Adapted by him from a longer Kyrie found in the Sarum Manual [in Missa pro defunctis), edit. 1543. For the original Kyrie and valuable notices of Merbecke's work for the English Liturgy, see the Preface and Appendix to The Order of Daily Service, etc., edited by William Dyce, London, 1843. ^ ^:& t^ PREFACE XXXI Response But deliver us from evilj Amen. This was an adapta- tion of the ancient usage in which the Priest recited the Prayer secrete until the petition Et tie nos inducas in tentatiofiemyVfhichy with its Response by the Choir, Sed libera nos a maloy was sung to the Versicle Tone.* We have given this form of the melody in the Suffrages, where our text conforms to the ancient usage. Anglican editors occasionally give the Merbecke form of the priest's melody for the Lord's Prayer in the Communion Service to the Congregation in Morning and Evening Prayer. We have hesitated to thus take the melody so long identified with the ministerial function in the heart of the Communion Office, but, for the sake of completing the provision for a full Choral Service, have set the Prayer in this place in the Minor Services to monotone, with accompanying harmonies. The SALUTATION, OREMUS and COLLECT inflec- tions are those already given. The BENEDICAMUS is from D. Ch., and the APOSTOLIC BENEDICTION has been adapted from the same (as D. & N. Cf. also Sax.). The LITANY is found in nearly all our early Orders and Cantionales. As early as 1529 Luther made a thorough revision of the old Roman LitanicB de omnibus Sanctis, and gave out both a Latin and German edition of it. The Latin text and its melody appears in Los. and Pom., but seems to have had no wide usage. The traditional Litany melody of the Anglican Church is undoubtedly based upon the ancient Latin forms. The great majority of our Orders give simply the German text of Luther with the melody composed for it. This is found among the earliest in Spangenberg, 1545, but is also given by Los., R. Pf., Pom., Keuch., El., and many others. Several other melodies occasionally appear, but their use was local and short-lived, and this remains as the characteristic and universal use of the Church in Germany ever since the Reformation * Luther seems to refer to this usage in his Deutsche Messe when he speaks of a •* Vaterunser heimlich," ^ XXXU PREFACE Period. All the modern editors have it, — thus Horn., Lz., Schoeb., M. Cant., Bav., End., Her., Pruss., Loh., Sax., Kr., Pet., and the recent Agende for Sweden. We have carefully collated the early and later editions, and in the adaptation to the English text have endeavored to preserve the characteristic movement and accent of the original melody.* The SUFFRAGES are the pre-Reformation week-day Preces of Lauds and Vespers. The melody we give for the Kyrie is that of Merbecke. The text of the Lord's Prayer, with its omission of the Doxology and the use of the last peti- tion as a Response, is in conformity with ancient usage, except that in the original the Prayer is said secrete until the last two petitions, which are given as a V and R. We give the Prayer in monotone and assign these two petitions the Versicle inflec- tion. The various petitions occurring throughout the Suffrages in the form of V and R are given the same form (as in Merb., Lz., Schoeb., etc.). The Second Tone is employed for the Psalmody, with the usual inflections for the Collects. The Benedicamus is from Los., also found in El., Onolz., and D. Ch. The centuries establish some things beyond dispute. For fifteen hundred years and more Plain Song has served in the * The introduction of the f Jf in the responses as given by some modern editors is a concession to modern feeling for the "leading note" and is, as Herzog maintains, " an absolute falsification of the melody and of the Lydian mode." (Pref. to Anhang zur Agende fiir Bayern, p. xvii.) For a full dis- cussion of the use of the Diesis or it in Gregorian Chant see the chapter in Magister Choralis (p. 85 £f.). Haberl here quotes from an interesting letter of Louis Schneider, as follows: — " One thing I must impress upon you ; /. e., to banish for ever and aye the Diesis from Gregorian Chant, and fly the cross (the sign Jf in German is called Kreuz, cross) as the devil would. All that has ever been said or may yet be said in its justification is vain, a delu- sion and a snare. Between music external to the Church and Liturgical Chant there is and must be an impassable barrier, as great a distinction as there is between Heaven and Earth, between a secular banquet and the Last Supper. / beseech of you never to be offended with the simple^ earnest, strictly diatonic, proscribed, poor garment of Christ, the Liturgical Song." }^-—. ^ PREFACE XXXiii Temple. Not only has it maintained the inevitable comparison with all other forms of music born, and often buried, within this period, but it stands unapproached to-day in its peculiar sphere, and bids fair to live in beauty and usefulness when much else that now enjoys an ephemeral popularity shall be the subject of curi- ous study to musical investigators of the centuries to come. It were presumption to discard it, and the burden of proof should fall upon those who would substitute anything else. But, unfor- tunately, our fathers did thus presume, and the burden falls upon those of this generation who have learned to know and to love the old melodies to bring them to the attention of the Church again, precisely as was necessary in the matter of the Liturgy itself. And this they do, not because of veneration for their age, but in recognition of their worth. The quality of absolute churchliness, which Plain Song alone possesses, should entitle it to consideration in any age, but is an especially strong argument in the present. The Church, in many quarters at least, has tried conformity to the World, to her sorrow. She has but lost her own self-respect, and the respect of the World as well, by it. As she is given wisdom she will return to her own, and live her own true life. For there is a real, distinct- ive life of the Church which differentiates it from the life of the World, as truly as there is a distinctively Christian type of man- hood which finds its expression in the life of the individual, and distinguishes him from men of the world. Neither is arbitrarily determined, or mechanically realized. Both must be a natural growth, the simple unfolding of deep, inner principles of belief and action. Let the Church's faith, then, again express itself in distinctive forms, whether in her Architecture, her Art, her Literature, Worship, or her Music. Let her Liturgy, as the devotional embodiment of her faith, again rule every Art that abides within her walls, and not be, as it so often is, the unre- spected plaything of an essentially worldly-minded Art's vagari- ous mood. The historical Plain Song: Lituro:ical Music is as dis- tinctively ecclesiastical inessential character and in effect as the I ^ ^:& XXXIV PREFACE Liturgy itself.* Its very presence in the sanctuary is a forceful protest against diseased craving for dramatic display and sen- sational individualism in pulpit, pew, or choir. There is a flavor of provincialism, of individualism, about every other setting to the Liturgy. One could almost to a cer- tainty place his hand upon the man, or type of man, who wrote it. Plain Song is catholic, universal, impersonal. It might have originated in France or Sweden, Germany, Greece, Italy or Asia from all that you can gather from its structure. When you hear it the question of origin or authorship never suggests itself to your mind. Like the Liturgy itself, the Church is its author. These authentic melodies, therefore, have the same advantages as an authentic text itself. We would scorn the presumption and suspicion the intelligence of the pastor who would reject the Church's models and frame a Liturgy of his own. There would be no possibility of arriving at a desirable uniformity of usage upon any such basis as personal taste or preference. Our COMMON SERVICE was only possible upon the platform of a common, historical consensus of the liturgies of the best age of our history. A like study of the true his- torical system of Liturgical Music of the Church, and, in a sense, a consensus of its beautiful melodial forms in which the Liturgy lived and breathed for centuries and which is as well qualified in respect of beauty, dignity and force to be the bearer of the liturgical text of the present, is also possible. The private com- * We cannot too strongly emphasize the fact that Plain Song is essen- tially distinct from modern music. It is not a matter of degree^ but a question of kind. The so-called "sacred" music of the modern system is in no ^jj-<^;///rt/ quality different from the "secular" music of the same system. Both employ the same intervals, the same time, the same varieties of notes and the same modes or scales, with precisely the same relation of semitones to the keynote. The frequent use of the minor mode and a slow tempo are about the only especially distinguishing features of the modern " sacred " music. As Walker declares: " It is as though we freely admitted doors and windows of secular design into our churches . , . but drew the line at coal holes and ash-heaps." {Reason Why, p. vi.) ^ ^ ^5^ PREFACE XXXV positions of organists, often devoid of true liturgical conscious- ness and unfamiliar with the purest forms of classic periods of their own Art, cannot hope to receive more than a partial ac- ceptance and a temporary usage.* Not simply throughout the Church in general is uniformity of usage in the music of the Liturgy highly desirable, but within the individual congregation itself such uniformity and perma- nency is almost essential. The Liturgy, as its very name im- plies (Ac'tVos, belonging to the people -j- the root of spyov, work), belongs to the entire congregation. To permit of universal participation we need a simple, unchanging setting which shall receive universal recognition, and be forever associated with the text of the Service. Such an one can be prepared from the historic music of the Church, and from it alone. Once secured it should be used whenever and wherever the Service itself is used. A single, invariable setting is sufficient for the simple Responses of the Liturgy.f The child in the Sunday-school * The private, personal forms of Service of the period of Rationalism have their parallel in the private compositions of individual organists for the Liturgy- with which the Anglican and Episcopalian Churches are so grievously- afflicted, and which our Church in this country has employed as well in the absence of an available setting for the Liturgy that stood firmly upon an historical basis. The important distinction, however, must be borne in mind that while the private effusions of Rationalism were a departure from a purer standard — a destruction, in fact— the individual settings to the Liturgy in our day have been an attempt to provide the Church with something where nothing existed — an effort at reconstruction, indeed, which, though neces- sarily temporary in character and unsatisfactory, has been of inestimable service to the Church. t The old Cantionales contain a dozen or more Glorias, Kyries, etc., a different one for each Festival. Liliencron, in his discussion of the new Swedish Agende which has a similarly elaborate de tempore provision, beau- tifully says: "As the ancient Church marked the different Seasons by changing colors of paraments and priestly vestments, so she gave her text a different sound for the ear by changing melodies and thereby opened ever new ways for the text to the hearts of the hearers. The musical settings form, so to speak, the paraments of the text." {Siona, June, 1898.) But in the old Orders these varying melodies were entirely for the Choir, as is largely ^ ^ ••^ ^^ XXXVl PREFACE and the adult in the congregation can then sing the same text to the same melody on Christmas and in Lent. In the present state of affairs each Festival too frequently brings with it a new Service setting for the Sunday-school, all perhaps differing from the one in use in the Church Service itself. The congre- gation, too, often but begins to accustom itself to one setting when another Season of the Church Year brings a different one into use and' paralyzes the tongues in the pew. The ideal Service recognizes the ever-present, unchanging needs of the worship- ping congregation as reflected in the invariable elements of the Liturgy, and at the same time provides for the celebration of the particular fact or phase of redemption announced by the Lessons for the Day by the variable elements. In so far as the elements of the Liturgy are unchangeable, the music should also be unchangeable. The changing Introits, Graduals, An- tiphons, Responsories and other propria of the Choir ; the Hymns and Psalms of the congregation, and the Lessons, Prayers and Sermon of the pastor together with the distinc- tively organ numbers, afford ample variety. Such a Service will be characterized by solidity, unity and interesting variety. It must be borne in mind that in discussing our Service Music we are considering a highly developed art-form. We are far beyond the requirements of mere necessity or simple utility. We are dealing with an adiaphoron. As all Art, it requires intelligence and culture both for its expression and for its appre- ciation. The Liturgy itself is infinitely more than a convenient form of words prepared for responsive use. It is a veritable poem, expressive of the deepest Christian intelligence and feel- ing and embracing within its marvelous scope every word of God to man and every response of man to God. The music of the case in the Swedish Agende. Ours must be for the people's use. There is a field which properly belongs to the Choir, and there is ample opportunity and pressing need for personal, independent work on the part of our organists and composers in this, while giving to the congregation the simple, invariable, historical melodies that belong to the invariable text of the Liturgy. ^ >:& PREFACE ^^ XXXVll the Liturgy is its most beautiful vesture, its festal garb. That God is pleased to accept of the offerings of human Art in His service is abundantly witnessed by the wealth of distinctively symbolical beauty, which, by His own command, adorned and enriched the Tabernacle and later Temple Services. The Blessed Saviour Himself made unceasing use of every element of beauty that He had first caused to speak in Nature in pointing His truth and winning men to it. There are those to-day who attach but little importance to the cultivation and employment of the Beautiful in Divine Worship. Though at great pains to indulge their artistic tastes in their homes and social relations, when they come to worship they prefer to deaden the aesthetic sense the Creator gave them and commune with their God with self-crippled powers. Such worship is not the humble offering of Mary, but rather the sinful withholding of Ananias. We must ever strive to bring unto God an offering of every fruit of our mind and hand, the first and best. The higher our concep- tion of Him the more elevated will our artistic ideal become. Only when we have thus endeavored to clothe our devotion in forms of beauty and brightness expressive of the joy of our redeemed manhood ; only when we have given Him in this part of our walk and conversation the truest and loveliest — the very best of which we are capable — only then can we hope to hear the word spoken to Mary, " She hath done what she could." And such a consecration of the Beautiful to the service of Him who created it will, under His providence, have no small share in impressing upon the world the force of the Truth as it is in Christ Jesus, and in winning men to it. Many congregations, however, are small in number and limited in resources. And, furthermore, in the largest congre- gations it is not always expedient, not always unto the edifica- tion of the largest number, to employ forms which the few may understand and love. Culture, education, growth of taste is necessary, as in the understanding of every art-form. Hence while we have provided in this work for the completest form of ■* ^:& i!^ XXXVlll PREFACE a Choral Service, should such be at any time or place desirable, we realize that perhaps the chief value of this part of our work, for the present at' least, will lie in the uncovering of the prin- ciples and forms that guided the worship of our Church in the days of her greatest faith and greatest power. It is a contribu- tion to historical study, but we trust it may be more than this. For while it would be a grievous blunder for the enthusiasm of pastor or organist to lead inadequately equipped or ill-informed congregations to essay the elaborate Choral Service for which we provide, yet at least the fundamental principles and forms of a pure Art should be employed in the very simplest structure. A modest chapel should display the same churchly character that speaks in greater power and variety in the lofty cathedral. Thus the Responses which we supply have been selected with particular reference to their practical use by the congregation, and can readily be employed in the simplest Service. The com plete provision made for the elaborate Choral Service should not, therefore, distract and discourage those seeking a simple setting for the Service as ordinarily used. If the Minister's Intonations, the Choir numbers (Hallelujah and Sentence, etc.), and the more involved forms given to the parts of the Service usually said and not sung (Nicene Creed, etc.), are eliminated, the remainder will be found to be exceedingly simple and well adapted to the requirements of congregational response. The chief purpose of our work has been to restore these beautiful Responses to the Church. The inclusion of the minister's Intonations followed as a logical corollary, demanded alike by the wish for historical and artistic completeness.* * The name Choral Service Book was chosen not simply with reference to the accepted meaning of the " Choral Service " as a Service entirely vocal, with Intonations and Responses alike rendered musically, but because of the earlier significance of the word " Choral," which designated the whole body of Gregorian Song, the modus legendi choraliter, the cantus choralis. The customary reference to a Hymn Tune as a " Choral " is not historically cor- rect. The Lutheran Choral, in this sense, is a metrical hymn. The original ^^ PREFACE XXXIX The task we assigned ourselves was not free from diffi- culties. After sifting the mass of material, and determining the more obvious points, more remained than simple translation or mere adaptation. The endeavor to preserve the natural accent and free rhythm of the text and the essential and distinctive qualities of Plain Song as well, involved accurate weighing of delicate points of value and accent, both verbal and musical, and rendered necessary the rejection of many melodies, beautiful in themselves but otherwise unsuitable. The variations in the text of the Services in the different editions of the three General Bodies is most lamentable, and, it seems to us, largely inexcusable. The form we have chosen for our text is that of the latest edition of the General Council (1900), which contains some changes from the earlier G. C. editions. The most important variations in text in the editions of the United Synod of the South and the General Synod have been indicated, and provided for where necessary, in the footnotes. The variations in rubrics in the different editions are so numerous that it was found impossible to adhere to any one set and indicate the deviations. It was also felt that a Service Book of this character could well omit the unimportant rubrics. Hence the rubrics given are constructed from the really necessary ones given in the different editions of the Common Service. Nothing has been introduced which has not the sanction of at least one edition, though many rubrics have been adapted to the peculiar provisions of a Choral Service Book by the omission of the direction ''or said'' where various parts of the Service are ordered to be *' sung or said'' Those familiar with the ancient Office Books will observe the conformity to ancient usage in many details of this work. It was impossible to use the customary red-lined staff for the Minister's Intonations without also giving the old Gregorian Gregorian choral is a prose recitative. In the old Cantionales the distinction was indicated by the use of modern, or "measured," and the older Grego- rian notes. (Thus .Spangenberg, etc.) ^ ^^ xl PREFACE notation. This latter was deemed inadvisable. Hence rubri- cated inital letters have been employed to distinguish, without further indication, the Intonations from the Responses. The Accompanying Harmonies to the Responses which have been provided for the Organist have been prepared in con- formity with the principles followed by the stricter school of Gregorian harmonists.* The intonations are unaccompanied, which is of course the historic practice.f For the information of those who may desire to pursue the study of our Liturgical Music still farther we have thought it well to append a Bibliographical List of the more important works which we have had constantly at hand in our own work. The list is not exhaustive, but contains the works we have found most helpful in our particular line of investigation. We cannot but record our smcere appreciation of the gener- ous assistance extended us by many friends at every stage of the book's development. Especially would we gratefully ac- knowledge the cordial interest and valued suggestions of the Rev. D. H. Geissinger, D.D., the Rev. J. F. Ohl, Mus. Doc, and the Rev. Prof. A. Spaeth, D.D., LL.D., as well as the re- peated kindness of Mr. B. Frank Weyman. In conclusion let us emphasize the absolute necessity of study of the principles and forms of this music before its use is attempted. All art requires study. Gregorian Music is not * These principles will be found fully stated by Haberl. {Magister Choralis, pp 1 99-2 1 7 .) t The various editors who have supplied some of the Intonations with Accompaniments apologize for it as a possibly helpful expedient, but agree that it is not ideal and that it is historically and artistically incorrect. (Thus Schoeberlein, Schafz, pp. n, 12; Herzog, ^Tusik. Anhang zur Agende {Bayern), p. viii ; the editors of the recent Swedish Agende in Siona, 1898, p. 105, etc) It is not a mere coincidence that the finest choirs in the world are to be found in the Greek and Russian churches, where the organ is abso- lutely forbidden. For discussion of the use of the organ see Liliencron, Liturg.-juusik. Geschichte, p. no ff., and Rietschel, Die Aufgabe der Orgel im Gottesdienste, etc., Leipzig. 1893. * * PREFACE xli an exception. Where unpopular it is usually because misunder- stood and in consequence badly interpreted. Here as elsewhere ''comiptio optimi pessimal Especially must its distinctively unmetrical and rhythmically free character be apprehended. This and its different scale system really differentiate it from modern music. There are no measures and bars. There is no absolute time value. Modern notation has been employed be- cause the old notation would be understood by but a very few. Hence "whole" and "half" notes have been used, but the difference between them is simply suggestive of a difference in stress, emphasis or accent as found in the text itself. The verbal accent and prose rhythm are supreme ; they dominate the melodic and rhythmic structure of the Chant itself. It is quite impossible to give an accurate representation, but, for the sake of illustration, we may say that the Vere dignnni, noted thus: i ir^ 1:^!^:::^ -"^ rj J ^'zatzg «* ri J .S" — G^- It is truly meet, right, and sal - u - ta - ry, etc. will be sung more approximately as follows : 3tit=J=rjc It is tru - ly meet, right, and sal - u - ta - ry, etc. The rendering is in unison, a melodic Choral Reading, a free but dignified and impressive recitative. The rules for good declamation apply with equal force to Plain Song. Enunciation, accent, pausing and breathing must be given closest attention, while the musical expression— the shading and coloring— must be studied and marked by differences of tempo and dynamics just as carefully as in the interpretation of any modern composi- tion. Plain Song and adagissimo—dindy worst of all, a measured adagissimosQ^m to be inseparably associated in the minds of ^:& ^^ xlii PREFACE many organists. There must be freshness and life as well as solemnity and dignity. The most careful reading of a single brief treatise upon the subject, however, cannot hope to furnish a thorough compre- hension of the inner spirit of the true Service Music, — its real significance and value as an Art-form and as an instrument of Worship. As the Liturgy is infinitely more than a mere form of words, Plain Song is infinitely more than a collection of notes set to these words. We can never hope to have a generally adequate conception and appreciation of either the Liturgy or its Music until we have provided for the systematic instruction of both the clergy and the organists in these departments. Upon the clergyman and the organist, or choirmaster, chiefly rests the great responsibility for a pure and helpful interpre- tation of the Church's spirit of worship. It is not sufficient for the pastor to know a few historical facts concerning the Lit- urgy, and for the organist to know the technique of his instru- ment and have a passing acquaintance with organ and anthem literature. The pastor should know the Liturgy in its every relation, — historical, theoretical, and especially practical, and should not be utterly ignorant of the theory and practice of its Music. The music of the Service is as truly within his sphere of study as is the proper Architecture of the Church or the vest- ments and colors for the Altar.* The organist should be at home in the department of a truly Sacred Music, understanding the theory and practice of the true Liturgical Song, which he i * The Music of the Liturgy is " an essential part of public worship ; its history is a portion of Church History ; the knowledge of it, from an historical and liturgical point of view, is part of theological science.'' ( Meister, quoted by Haberl, M agister Choralis^ p. 221.) Krutschek {^Die Kirchemnusik, p. xv) contends that it is a fundamental error to suppose that Church Music is exclusively a musical study, and that only those of the clergy who are mu- sically gifted or cultured should concern themselves about it. " Nicht nur M u s i k heisst sie, sondern K i r c h e n musik ; das Wort ' Kirchen '— steht v o r a n. S ie ist z u e r s t eine liturgische, und d a n n erst eine musi- kalische Sache." ^ *if PREFACE xliii can only hope to do when he understands something of the spirit, the history, and the significance of the Liturgy itself.* Among the needs of our Church at the present time two are most urgent : adequate provision for both liturgical and musical instruction in our Theological Seminaries, and provision for both liturgical and liturgico-musical instruction for our organists. The centre of our worship is the Word and Sacraments. These are directly enfolded in the Liturgy with its Music. All else belongs to the more outward vestments and courts. The Music of the Liturgy, therefore, is the animating centre of the Music of the Church. Its influence dominates the other musical elements and largely determines their character. Here is the point, then, to begin in the effort to advance the cause of a purer Church Music. The true development of our Service Music in the future will inevitably be upon the principles and forms we here present. We would be by no means certain of this if the Service we offer were our own invention. We have not simply added another to the list of private, individual com- positions as a setting for the liturgical text. It is the historic Service Music of the Church. The history as well as the true spirit and genius of our Church lead us into the way of return to it. There is no other path, as there was none other in the reconstruction of the Liturgy. These impersonal, historical types are the only forms that rise above individual taste and eliminate the "personal equation." It is a marvel that they have not been restored to the Church ere this. The Liturgy was sought again and found, but when brought back into the * " No matter how great his musical talents otherwise may be, the choir- master who cannot identify his way of thinking with that of the Church, as expressed in her Liturgy, and who fancies that he adequately discharges his duty by merely making music whilst a religious function is being gone through, is deficient in one of the most important qualifications for his posi- tion." (Haberl, Magister Choralis, p. 225.) It is this lack of this true litur- gical sense, and not any poverty of musical knowledge or skill, that makes modern " sacred music *' so unsatisfactory. 4, ^ If/f ^H xliv PREFACE Temple to take its rightful place, it had only borrowed ill-fitting garments or rough homespun to cover its cold nakedness. Its own royal robes of surpassing lovelinesS; in the fashioning of which the Church had labored for a thousand years, were for- gotten. In our effort to clothe the Liturgy again in her own we can only plead sincerity of purpose, constant adherence to highest standards, and conscientious effort. It has been for us, as for Guidetti, ^^ opus quidem nullius mgenii, ntultarum tamen vigiliarum!' On this great subject we cannot hope to have said the last word. We shall be satisfied if our study shall help the Church to take a single step in the direction of a higher, purer ideal and a more . acceptable service. May the great Head of the Church so use it. The Editors. Whitsuntide, 1901. ^ ^ ^:^ : 1:^ Bibliograpbi?/ HISTORY AND THEORY OF PLAIN SONG. Haberl, F. X. Magister Choralis. A Theoretical and Practical Manual of Gregorian Chant. Second English edition. New York: Frederick Pustet, 1892. Wagner, Peter. Einfiihrung in die Gregorianischen Melodien. Freiburg (Schweiz^i 1895. Krutschek, Paul. Die Kirchenmusik nach dem Willen der Kirche. Third edition. New York: F. Pustet, 1891. Ahle, J. N. Die Choral-Ausgabe der heiligen Riten-Congregation (Editio Medicaea). Eine liturgisch-historische Studie. Regensburg : F. Pustet, 1895. ScHUBiGER, P. Anselm. Die Sangerschule St. Gallens vom achten bis zwolften Jahrhundert. Ein Beitrag zur Gesanggeschichte des Mittel- alters. New York: Benziger Bros., 1858. Walsh, William J. A Grammar of Gregorian Music. Dublin : M. H. Gill & Son, 1885. Antony, Joseph. Archaologisch-liturgisches Lehrbuch des Gregorianischen Kirchengesanges. Miinster, 1829. Gevaert, Fr. Aug. La Melopde antique dans le Chant de 1 Eglise latine. Ghent: Ad. Hoste, 1895. Gevaert, Fr. Aug. Der Ursprung des Romischen Kirchengesanges. Deutsch von Dr. Hugo Riemann. Leipzig: Breitkopf & Hartel, 1891. Pothier, Dom J. Les Melodies Gregoriennes. German translation by P. Ambrosius Kienle. Tournay, 1881. Der Einfluss des Tonischen Accentes auf die Melodische und Rhyth- mische Struktur der Gregorianischen Psalmodie, von den Benediktinern zu Solesmes. Freiburg im Breisgau: B. Herder, 1894. Jakob, G. Die Kunst im Dienste der Kirche. Fourth edition. Landshut, 1885. Sauter. Choral und Liturgie. (English translation in Catholic Worldy Vol. 28.) * We have confined ourselves to a selection of the works which we personally have, not wishing to lengthen the list by mentioning authorities which we have been able to consult in various other libraries. Works distinctively liturgical (Kliefoth, Alt, Koestlin, Rietschel, etc., etc.) and general histories of music have also been omitted, though, of course, these contain much valuable information. ^^^ xlvi BIBLIO GRA PHY ■^i< Plain-Song. New York : Novello Ewer & Co. The Plain-Song Reason Why. NtJv York: Novello,- Helmore, Thomas. Walker, Charles. Ewer & Co. Spexcer, Charles Child. A Concise Explanation of the Church Modes, etc. Novello, Ewer & Co. Stubbs, G. Edward. How to Sing the Choral Service. A Manual of In- toning for Clergymen. New York : Novello, Ewer & Co. Liliencrox, R. Freiherr von. Liturgisch-musikalische Geschichte der evangelischen Gottesdienste von 1523 bis 1700. Schleswig: Julius Bergas, 1893- Liliexcron, R. Freiherr von. Chorordnung fiir die Sonn- und Festtage des evangelischen Kirchenjahres. Giitersloh : C. Bertelsmann, 1900. Liliencron, R. Freiherr vox. Ueber den Chorgesang in der evangeli- schen Kirche. Berlin: Carl Haberl, 1880. Lyra, Justus W. Die liturgischen Altarweisen des lutherischen Haupt- gottesdienstes, etc. Gottingen : Vandenhoeck & Ruprecht, 1873. Lyra, Justus W. Andreas Ornithoparchus, der Zeitgenosse Luthers, und dessen Lehre von den Kirchenaccenten. Giitersloh : C. Bertelsmann, 1877. Lochner, Friedrich. Der Hauptgottesdienst der Evangelisch-Lutheri- schen Kirche. St. Louis, Mo.: Concordia Publishing House, 1895. Rambach, August Jakob. Ueber D. Martin Luther's Verdienst um den Kirchengesang. Hamburg, 1813. Freytag, J. a. Lutherus musico-liturgus. Hannover: Carl Meyer, 1871. Kade, Otto. Der neuaufgefundene Luther-Codex vom Jahre 1530. Dres- den, 1 87 1. Bachmann, Franz. Grundlagen und Grundfragen zur Evangelischen Kirchenmusik. Giitersloh: C. Bertelsmann, 1899. Herold, Max. Alt-Niirnberg in seinen Gottesdiensten. Ein Beitrag zur Geschichte der Sitte und des Kultus. Giitersloh : C. Bertelsmann, 1890. Dickinson, Edward. Art. " The Ritual Chant in the History of the Catholic Church " in the monthly Music, December, 1897, January and February, 1898. Rietschel, Georg. Die Aufgabe der Orgel im Gottesdienste bis in das 18. Jahrhundert. Leipzig, 1893. Ki'MMERLE, S. Encyklopadie der evangelischen Kirchenmusik. 4 vol. Giitersloh; C.Bertelsmann, 1888-95. Grove, Sir George. A Dictionary of Music and Musicians. 4 vol. Lon- don: Macmillan & Co., 1894. SioXA. Monatschrift fiir Liturgie und Kirchenmusik. Herausgegeben von Max Herold. Giitersloh : C. Bertelsmann, 1876 — . Monatschrift fur Gottesdienst und Kirchliche Kunst. Heraus- ^ ^ •5^ BIBLIOGRAPHY xlvii ■^^ gegeben von Dr. Friedrich Spitta and Dr. Julius Smend. Gottingen: V^andenhoeck «& Ruprecht, 1896—. MusiCA Sacra. Gegriindet von Dr. F. X. Witt. Monatschrift fiir Hebung und Forderung der kathol. Kirchenmusik. Herausgegeben von Dr. F. X. Haberl. Regensburg, 1867—. Fliegende Blatter fur Kath. Kirchenmusik. Cacilienvereinsorgan. Herausgegeben von Dr. F. X. Haberl. Regensburg, 1866 -. CaCILIEN Kalender. Redigirt von Dr. F. X. Haberl, Regensburg: F. Pustet, 1S76-S6. Kirchenmusikalisches Jahrbuch. Herausgegeben von Dr. F.- X. Haberl. Regensburg: F. Pustet, 1886 . Cacilia. Vereinsorgan des Amerikanischen Cacilien Vereins. Edited by Professor J. Singenberger. St. Francis, Wisconsin, 1874—. Organum Comitans ad Ojdinarium Missae. By Fr. X. Witt. Fifth edi- tion. New York: F. Pustet, 1890. Organum Comitans ad Graduale Romanum. By F. X. Haberl and Joseph Hanisch. Third edition. F. Pustet, 1895. Organum Comitans ad Vesperale Romanum. By Joseph Hanisch. Second edition. F. Pustet, 1890. OFFICE BOOKS, CANTIONALES, ETC. ROMAN CATHOLIC. Directorium Chori. Cum textu conform! edition! Breviarfi Romani t}'picae. Cura et auctoritate Sacrorum Rituum Congregationis aiges- tum. F. Pustet, 1889. Graduale de Tempore et de Sanctis, etc. Pustet, 1889. Vesperale Romanum. New York: F. Pustet, 1888. Officium Majoris HEBDOMADiE a Dominica in Paimis usque ad Sabbatum in Albis, etc. F. Pustet, 1876. Mettenleiter, J. G. Enchiridion Chorale. F. Pustet, 1853. Haberl, Dr. F. X. Psalterium Vespertinum. F. Pustet. ANGLICAN AND EPISCOPALIAN. Merbecke, John. The Booke of Common Praier Noted. 1550. Reprint, edited by Edward F. Rimbault, LL.D. Second edition. Novello, Ewer & Co., 1S71. Dyce, William. The Order of Daily Service, The Litany, and Order for the Administration of the Holy Communion, with Plain-Tune. London: James Burns. 1843. *- ^ *-— iU ' Xlviii BIBLIOGRAPHY J EBB, Rev. John. The Choral Responses and Litanies of the United Church of England and Ireland. London: George Bell, 1847. Lee, Rev. Frederick George, D.C.L. Altar Service Book. With the Ancient Plain Song for the Holy Communion. London : Thomas Bos- worth, 1867. DoRAN, Rev. J.Wilberforce, and Thompson, Rev. Christopher. The Ritual Music of the Altar. London: Novello, Ewer & Co., 1875. DoRAN, Rev. J. Wilberforce, and Nottingham, Spenser. A Noted Directory of Plainsong. Novello, Ewer & Co., 1889. DORAN, Rev. J. Wilberforce, and Nottingham, Spenser. The Ver- sicles and Responses at Mattins and Evensong, and the Litany of the Church of England. Fourth edition. Novello, Ewer & Co., 1884. Helmore, Rev. Thomas. A Manual of Plain-Song. Containing a Brief Directory of the Plain-Song used in the Morning and Evening Prayer, Litany and Holy Communion; together with The Canticles Noted, The Psalms Noted, etc. Novello, Ewer & Co. Stainer, Sir John, and Russell, William. The Cathedral Prayer Book, Being the Book of Common Prayer with the Music Necessary for the Use of Choirs, together with the Canticles and Psalter. Novello, Ewer & Co. Messiter, a. H. Choir Office-Book. New York: E. & J. B. Young & Co., 1894. Hutchins, Rev. Charles. The Chant and Service Book. Boston (Parish Choir), 1894. The Service Book. By the Editors of the " Tucker Hymnal." New York: James Pott & Co., 1895. LUTHERAN. Luther, Martin. Musik-Beilage zur " Deutschen Messe und Ordnung des Gottesdienstes 1526." Erlanger Ausgabe, Bd. 22, S. 226-244. Kirchen Ordnung In Meiner gnedigen herrn der Margrauen zu Branden- burg Und eins Erbern Rats der Stat Niirmberg Oberkeyt und gepieten, Wie man sich bayde mit der Leer und Ceremonien halten solle. 1533. Spangenberg, John. Cantiones Ecclesiasticae Latinae, etc., and Kirchen- gesenge Deudsch, auff die Sontage und fiirnemliche Feste, durchs ganze Jar, etc. Impressum Magdeburgi per Michaelem Lottherum, 1545. Lossius, Lucas. Psalmodia, Hoc est Cantica Sacra Veteris Ecclesiae Selecta, etc. Cum Praefatione Philippi Melanthonis. Witebergae, Ex- cudebat Zacharias Lehman, Anno 1595. Kirch enordnung . . des Fiirsten Wolffgangs, Pfaltzgrauen Bey Rhein, etc., etc., and Kirchengesanng Teutsch und Lateinisch, etc. Ge- druckt zu Niirmberg, durch Dieterich Gerlatz. 1570. ^^ >.^ BIBLIOGRAPHY xlix Eler, Franz (Franciscus Elerus). Cantica Sacra. . . . Hamburgi excu- debat Jacobus Wolff. Anno MDXIIC. (1588.) LiBELLUS Continens Antiphona, Responsoria, Introitus, Sequent. Hymnos, Versicul. et Officia Missas Germanicze, Quae ad singulas Dominicas et Festa praecipua, ac vigilias eorundem in Ecclesia Onoltzbacensi et Heils- bronnensi decantantur. Noribergae, Cura Joannis Friderici Sartorii. 1627. 1 •NSELMANX, LcDWiG. Bugenhagen's Kirchenordnung fiir die Stadt Braunschweig, nach dem niederdeutschen Drucke von 1528, mit histori- scher Einleitung. etc. Wolfenbiittel, 18S5. Agenda etc. Fiir die Diener der Kyrchen in Hertzog Heinrichen zu Sach- sen \ . G. H. Fiirstenthumb gestellet. Gedruckt zu Leipzig durch Nicolaum Wolrab. M.D.XL. Kercken Ordeninge im Lande tho Pamern, etc. Anno M.D.LXIII. Teutsch Kirchenampt and Enchiridion, Strassburg, 1525. HOMMEL, Friderich. Liturgie lutherischer Gemeindegottesdienste. Noerdlingen: C. H. Beck, 1851. , Petri, Ludw. Adolf. Agende der Hannoverschen Kirchenordnungen. Hannover, 1852. Kraussold, L. Musikalische Altaragende fiir den evangelisch-lutherischen Gottesdienst. Erlangen: Theodor Biasing, 1853. Armknecht, Friedrich. Die Haupt- und Neben-Gottesdienste der evan- gelisch-lutherischen Kirche, etc. Gottingen : Vandenhoeck & Ruprecht, 1853- Layriz, Dr. Friedrich. Kern des Deutschen Kirchengesangs. Vierte Abteilung. Noerdlingen: C. H. Beck, 1875. Schoeberlein, Dr. Ludwig, and Riegel, Friedrich. Schatz des litur- gischen Chor- und Gemeiijdegesangs, nebst den Altarweisen in der deutschen evangelischen Kirche, etc. 3 vol. Gottingen : Vandenhoeck & Ruprecht, 1865-72. Cantionale fiir die evangelisch-lutherischen Kirchen im Grossherzogthum Mecklenburg-Schwerin. Folio. 4 vol. Schwerin : W. Sandmeyer, 1868-87. Lohmeyer, H. Evangelisches Choralbuch. Nebst einer Zugabe fiir die Liturgie. Second edition. Leipzig : Velhagen & Klasing, 1867. Endlich, J. Liturgie und Chorgesange zum Kirchenbuch der Allgemeinen Kirchenversammlung. Philadelphia: Ig. Kohler, 1879. Agende fiir die evangelisch-lutherische Landeskirche des Konigreichs Sachsen. Zweite Auflage. Leipzig: Poschel & Trepte, 1896. Lome, Wilhelm. Agende fiir chrislliche Gemeinden des lutherischen Bekenntnisses. Dritte Auflage, besorgt von J. Deinzer. Nordlingen* C. H. Beck. 1884. >i*- ^ •^^- ^^ BIBLIOGRAPHY MusiKALisCHER Anhang zur Agcndc f iir die evangelisch-lutherische Kirche in Bayern. Erlangen : A. Deichert, 1883. Agende fiir die Evangelisch-Lutherische Kirche in Preussen. Cottbus, 1886. Herold, Max. Vesperale, oder Die Nachmittage unserer Feste und ihrer gottesdienstliclie Bereicherung. Second edition. Giitersloh : C. Bertels- mann, 1893. HoMMEL, Friderich. Der Psalter. Vierte Auflage. Giitersloh: C. Ber- telsmann, 1895. MUSIKEN TILL SVENSKA MXSSAN and Ur MuSIKEN TILL SVENSKA MaS- SAN Altarsangen. Stockholm : Georg Abr. Lundquist, 1896. Church Services with Music. Lutheran Augustana Book Concern, Rock Island, 111. Hymnal and Order of Service for Churches and Sunday-schools, by authority of the Evangelical Lutheran Augustana Synod in North America. With Music. Rock Island, 111. Luth. Aug. Book Concern. 1901. Alterbog for den norske Kirke. Kristiania. Grondahl & Sons For- lag.* 1893. Suomalainen Ja Ruotsalainen Messu. Toimitti J. A. G. Hymander. Uusi Lisatty Painos. Finska och Svenska Massan. Utgifven af J. A. G, Hymander. Ny Tillokt Upplaga. Helsingfors, 1892. G. W. Edlunds Forlag. Liturgisches Handbuch. G. Blessin. Waverly, Iowa. * ^:^ Contents. PAGE Preface, lii Bibliography, xlv Morning Service, or the Communion, 3 Early Service, or Matins, 36 Evening Service, or Vespers, 49 The Litany, 5S The Suffrages, 69 The Collects, 77 The Introits, 96 Accompanying Harmonies to the Responses. Morning Service, or the Communion, 143 Early Service, or Matins, 17S Evening Service, or Vespers, 197 The Litany, 206 The Suffrages, 217 Harmonies to the Psalm Tones, 225 ■* ^:& i'^ ^bc ®r&cr of fIDorning Service, or tbe Communion. < A Hymn of Invocation of the Holy Ghost may be Ming. S The Minister, standing before the Altar, shall begin the Service as here foUoweth, the Congregation standing. X the Name of the Father, and of the Son, and of the ist Ho - ly Ghost. men. Zbe Confession of Sins. iB^^K^^S^^ni J im n RKt^^MNI n^' — \ IHH^Hb^CS^Ii V |/ ^^^v.i.oy /ED and in the confess Lord our : Let us sins unto draw God near our with a Father, true be- heal I, seeching Him, in the Name of our Lord Jesus Christ, to grant us forgiveness. •; Then, all kneeling or standing, shall be >ung : L'R help is in the Name of the Lord. -H5H HO made heaven and earth. ^ * ■^i* MORNING SERVICE, OR THE COMMUNION T=Vi -G^ SAID, I will confess my transgressions unto the Lord. ND Thou forgavest the iniquity of my sin. I^§ 0 ^ V r^ ■" "' T /T" 1 ifTk 1^1 A \ xA) '"^1 ^ - J, 1^^ LMIGHTY God, our Maker and Redeem - er, we poor sinners confess unto Thee, that we are by nature sinful and :=|:=H= un - clean, and that we have sinned against Thee by thought, -^=t=A. f ^ 7^ S^--^- word, and deed. Wherefore we flee for refuge to Thine infinite ^: ^ |-f5M mer - cy, seeking and imploring Thy grace, for the sake of our !=_-= il=q==^: :tl^=3=^ Lord Je - sus Christ. -* ^i< MOHiVnVG SERVICE, uR THE COMMUNION Congregation and Minister. m MOST merciful God, Who hast given Thine Only-begotten i ^ <5» V6^ Son to die for us, have mercy upon us, and for His sake grant i^ 5=z=±^ -g» — s<— — A o ^ e^ ^ ^ e^ sJ K^ ^ ORI), have mer - cy up - on us. Christ, have mer - cy £^^^ E3: ^ — ^- up - on us. Lord, have mer - cy up - on us. ^be Gloria (u jEycelsis, «" Instead of the Gloria iu Excelsis, another rantiole or Hymn of Praise may be sung, except on Festival Days, and when there is a Communion. 5^^ H ^ i^~ i^-zz^: ^ RY be to God on high 33.^ gH^— -f- for Thy great glo - ry, O Lord God, heav-en - ly King, --1-4- :5^ — z^— -^S*-'^!^ Christ; O Lord God, Lamb of God, Son of '^ t=^- E^-= 2^^=3^ I^tffiZIIZ^ 12: the Fa ther, that tak - est a - way the sin I u ipE^-g^E^ gz=gdzr^ :1r^ -75^— S* =;it2^ -^— S^ of the world, have mer - cy up - on us. Thou that tak - est U- ^ '^E^^ tst»z 1^ 1 1 1 — -j^izz^zst a - way the sin of the world, re - ceive our prayer. P feE 3 =^=: Thou that sit - test at the right hand of God the Fa - ther. I, 3^ Iff: have mer - cy up - on us. ?£ H 1 fc^^^ -J^Z!^^ OR Thou on - ly art ho - ly ; Thou on - ly art * ;^E^ - -is< — c read. TLhz jeptstle tor tbc 5)a^. ■|"he Epistle is sung in monotone with but one inflection, at a mark of Interrogation, where the melody falls a semitone and returns to the reciting note. The intiection is made on the last word of the sentent-e if a monosyllable or accented : in a polysyllabic word the voice falls on the accented syllable. The Announcement is in monotone : e. g. ^ The Epistle for - beginning at the is written in the - Verse. Chaptei; of Sexagesima. 2 Cor. II: 22, . . . . Are they He - brews? SeptuAGESIMA. I Cor. 9: 24, but one receiveth the prize? t The Eoistle en. led, tin- Minister shall say : Here endeth the Epistle. '^ ^ ^:& * MOJ^XIXG SERVICE, OK 71/ E COMMUNION n Cbc Iballclujab. t Instead of the simple Hallelujah, a Sentence tor tho Seiuson of the Church Year may be xung with it ; or a Psalm, Cantii-le, or llynui may U- sung after the Hallelujah. % In the Pas!_, \ jr\ . ■ ' ' . 1 . 1 1 1 /L. ^ _^:?z ^ _^.^ ' —, 1 ^^^^--^-5^ tT^^ _^«^_^_5,_c^ — ^^_ Hal - le - lu - jah ! Re - mem - ber, O Lord, Thy ten - der -?f<- ^zrilZZi^L ^5=^ -^zu^oizz^ziist 12^3 ii: mer - cies : for they have been ev - er of old. ^--^. -rt- "tf X Hal - le - hi - jah ! For the Epiphanx J^eason. I Modus VIII. J 4-J^ j.g_jg_, ^ ^=q: ^1=;^:^:^ fe^ fziz^ -^■ gL^Lj^L Hal - le lu i :£? :s?: i T=f jah ! O praise the Lord, all ye na - tions : -. . . \ \— ^&^ T^i^psrz^r^ ^T-g'-^zg: 5*- :=^ and laud Him, all ye peo - pie. For His mer - ci - ful 't^^—^ — 6h \k> ^^~P f^ '^- -e^ — «^ '^ H i^^ kind - ness is great to -ward us: and the truth of the Lord ^ +P >i'f- ^ 12 MORNING SERVICE, OR THE COMMUNION :=f=:--=F4 -U- ■Q- \Tn^fj 2 ' en - dur - eth for cv - cr. Hal - le -<^'-^ hi iah! For the Passion Season. Modus VI. •n — \- *^3^ q=1 — sijf— zg* — ^:i^g^ g^ ^j^— ^gi-l-st^ Christ hath huTrT- bled Him- self, and be - come o - be - di - ent -I .- ^^^ :^— z^j ■^1 ^^: T^^=X -1^ — t:)-^—^^—^—'^: i^ un - to death ven the death of the Cross. For the Easter Season. Modus VI. q=4-M-J , T -^=:^^^^E¥^- jah ! Christ our Pass - o - ver ' H- I I I , — — t^l r^-g^^^y:;^z.z;^l:g^:z^^^-^'^^-i^-gzg is sac - ri - fic - ed for us. Hal - le lu jan For ]Vliifsufitide. Modus IV, '~%-=^A =1=^=1: ^-^-r^^^ •?S^glgHg'- &^z:lz?^_ -<^^5Hg- -g-g*— ^- 3^^ Hal - le - lu - jah ! Thou send - est forth Thy Spir- it, :t-3— ;5 -^-j:>- -^rzt. :t="-=1: -/$*- -^ ^-r^^- 5:z2^n lu jah * ^ ■*:^ J/O/HAVXG SERVICE, OK THE COMMUNION From Trinity to Adi'cnt. MODLS VII. 13 r?^ , 1 !,. .j \ 1 =Ti! -L 1 J 1 ^=r=J i-T^--©* T^ 7^'S' jh fi* 1^ Hal - le ■ lu - jah ! 0 Lord, deal with Thy serv - ant ^^' 1 +- 1 1 , - T-^^ J w—-^ 1 ^ — r^" =^— ^ J- L^-J^^^ "^ ac - cord - ing un - to Thy mer - cy : and teach me ^"^^ ~iy — j — J — 5, — *— « — » — * — 5 — f — iffi "-^ ' '•■' ^ — i 1- — u — 1 \ — Thy Stat - iites. I am Thy ser\^ - ant, give me un - der g^ g? "^ g- 1 'tr ' ^ — ^ ^ — ^ stand - ing : that I may know Thy tes - ti - mo - nies. m ^ ^ — "^ 5? 7:r- Hal - le - lu - jah ! Or this: 0 Modus VIII. 1 1 — Ks' — -4-^'- 1 — ^,s^ — Uj — . l^= ^ ^ 'V ^. ^ ^ —^ _^ *J^ -^-<^- -^ Hal - le - lu - jah ! Bless - ed be the Lord i ■J 1- ^—^ -^^-^ t;^^!P^-^:p- '^^ :^=^— ^;^ God of our fa thers : praise Him, and high - ly P ■1 1 r=^=:| I ^ H M- =;g=^fI2^ZI2^ ex - alt Him for ev - er. Hal - le - lu jah '^ ^ ^:& ^:^ M MORNING SERVICE, OR THE COMMUNION Z\ic Gospel toe tbc 2)ai2. riK> Gospel liiLs three inflections: th3 Interrogation, the Period, and the Close. The Inter- rogHtion is the . same us in llie Kpislle. Tlie Period falls a minor third and returns to the recilinjj note, which intleclion >hould not be made after the fourth or before the sixth last syllahk' of the sentence, unless the last word is a monosyllaljle, when the fall l)reccdes it one syllalde and the return to the reciting? note is nuide on the last word. At the Close the voice falls a minor third and returns to the reciting note with the inter- mediate si (do, la, si. do), sung slowly and impressively. The Aunouneement takes the Period inflection: e.g. i The Holy Gospel is written in the St. , beginning at the twenty Interrofjniion. Chapter of ^rst Verse. f III. Advent. Matt, ii: 3. . Period Inflections. . . or do we look for an - oth - er ? m I. Advent. . . . and bring them un - to me they set Him there -on. ^_^^_Cfose. __^ Hosanna the high - est. *" The Congregation, rising at the Announcement of the Gospel, shall sing ■-(^-' — LORY be to Thee, O Lord. (.iospel cntlc(i, ihc Miiii>icr shall say: Here endeth the Gospel, and tlu Congregation shall sing: ^ RAISE be to Thee, O Christ. l>c said or sung the Nicene Creed, or the Apostles' Creed ; but if there l>e a Communion. Hk- Nicene Creed shall be used. Tlbe IRlccnc CrccD. !^r^ t=^&- BK - LIEVE in one God, * ^:& >i^ MO R XING SERVICE, OR THE COMMUNION -«i. 15 * St^J=S= [ I { — I -■^^3=^-=5^-'-^=--^=^ HE Fa-ther Almighty, Mak - er of Heaven and earth ?E3EER=^- — I — I 1- IS?: And of all things vis - i - ble and in - vis - i - ble. 1. !iJr:3==1=-— q: -a — » ^~ 1^=2=1=^'=;^= XI) in one Lord Je - sus Christ, the On - ly - be %- Sf fj — ^ ^ — JjS)— -g^ — a -^ — ^ — ^ — r^ -^-^—-g^- i got - ten Son of God, Be - got - ten of His Fa - ther g^-izz: -^ — 5*- --1— -i^ziii 1: -1--^—^^ -3? — '^- 77~'—sr^- ^z? be - fore all worlds, God of (iod, Light of Light, Ver - y \ <9- S^'g— 'g^ T^ r^—si God of ver - y God, Be- got- ten, not made. Be- ing I ::1=q: js: 122=^ 1^5: of one sub- stance with the Fa - ther, By whom all things -JSL ~e> ^s> g<- ^=1: -7^ js* — ^ :^=«L- :s=2^=: were made ; Who, for us men, and for our sal - va - tion, :^=^ !^ Ct—. .-=5^-^?:=^- came down from heav -en, And was in - car- nate by the 4 1- ^—f^-^-^ — s^- -)& — «'- ■^E^^~~ES^ Ho - ly Ghost of the Vir- gin Ma - ry, And was made man ; 'JlllL ^ »:^ ■^? i6 MOKNING SERVICE, OR THE lOMMUNION i ^E3^ 32: :3z=3t.^:i=z^-- c^^ — i^- — -^ And was cm fi - ed al - so for us un - der ^=^^=g: 35?: S: Srfi'- P Pen- tius Pi - late. He suf - fer - ed and was bur i - ed ; i =4=1: T=^- istz^ ^IZ2=g=^=^ -Z5^ — &- -25^ And the third day He rose a-gain, ac-cord-ing to the Scrip-tures; I I -^Q^JL -J— i. . '-^pr^-r:ir T-: And as - cend- ed in - to heav - en, And sit-teth on the right hand -^zz!^js?. -rj-^-si- -jz:^. 6^^:r z^_: of the Fa - ther ; And He shall come a-gain with glo-ry to judge -^-^— ^ 125: -iQ- both the quick and the dead : Whose king-dom shall have no end. '%:=^-=t -J2Z -^1=^ I be-lieve in the Ho - ly Ghost, the Lord and f\ «* , I , , J ^ ! 1 .1 1 /L if ! -! ^' ■ ~1 "! 1 "i 1 ! ' ^ a ^ ' 1 Vj7 &* 5* " ^ "^ ^ (iiv - er of Life, Who pro-ceed-eth from the Fa- ther and i^S: 25* 5*- --^--^;— -^ -J— the Son, Who with the Fa- ther and the Son to- geth - er i^^i= 3^ Sr is wor-ship-ped and glo - ri - fi - ed, Who spake by the . ^ '^ MORX/XG SERVICE, OR THE COMMUNION 17 ^^ -jszi-z^ — z> 1=1=4: -gr ]I=-^_^SL- ^ s* — ^ — ^^ — « Proph-ets. And I be- lieve one ho - ly Chris-tian and Ap- is?: •g* — ^ — z?- os - tol - ic Church. I ac-knowl-edge one Bap- tism for the re - mis- sion of sins ; And I look for the Res- ur-rec- tion '.TSizn i of the dead ; And the Life of the world to come. -fy-^ men. A men. A men. Cbc Bpostlcs' CreeD. BELIEVE in God the Father Almighty, Maker of Heaven and earth. And in Jesus Christ His only Son, our Lord ; Who was conceived by the Holy Ghost, Born of the Virgin Mary ; Suffered under Pontius Pilate, Was crucified, dead, and buried ; He descended into hell ; The third day He rose again from the dead ; He ascended into heaven. And sitteth on the right hand of God the Father Almighty ; From thence He shall come to judge the quick and the dead. I believe in the Holy Ghost ; The holy Christian Church, the Communion of Saints ; The Forgiveness of sins ; the Resurrection of the body ; And the Life everlasting. Amen. *. Then may a Hymn be sung, and the Minister shall go into the Pulpit. After the Hymn ^hall follow Z\it Sermon. ^ The f^erraon eiK]eimll loll.nv tin- Geueral Prayer.* Tlit- Prayor lure (ollowins luav W ummj -. or. if thfff W tio ("oinnuiiiic.ii. tlio Litany, ,,r a >ele('ti(»u troiii tlie Collects and Prayers, ,„ rtny other >iuiUil)lt' rrMVfi. ^bc ©cneral iprai^er* LMIGHTY and most merciful God, the Father of our Lord Jesus Christ : We thank Thee for all Thy goodness and tender mercies, especially for the gift of Thy dear Son, and for the revelation of Thy will and grace ; and we beseech Thee so to implant Thy Word in us, that, in good and honest hearts, we may keep it, and bring forth fruit by patient continuance in well doing. Most heartily we beseech Thee so to rule and govern Thy Church universal, with all its pastors and ministers, that it may be preserved in the pure doctrine of Thy saving Word, whereby faith toward Thee may be strengthened, and charity increased in us toward all mankind. Grant also health and prosperity to all in authority, especially to the President [and Congress] of the United States, the Governor [and Legislature] of this Commonwealth, and to all our Judges and Magistrates ; and endue them with grace to rule after Thy good ♦ In the Orders of the r. s. s. and the G. s. the Offerings are gathered before the General Prayer. ■* |e MORNING SERVICE, OR THE COMMUNION 19 XTbc ©ttcrtorg. \ Oiu'of tli».' OrtiTtori.'?. litTt* follow in?, or ;iii\ diIum- suitiild.- < >l1iTi.>r\ . Miay I»f iist'.l. Tone VI. 1 1 — I 1- 1 i5i< 'ft l; ^ -^ _.' 1 -^ 1 ^ fy'T) ^\ 0^ «/ once o - ver - came, might likewise by a tree be o - ver % ^=^ 3^.=;^t^^?zi2fc;its.-;; come, through Christ our Lord ; through Whom with Angels, etc. '^ ^ -^^ 24 MORNING SERVICE, OR THE COMMUNION I 'or the Fas fry Season. ^ -H^H "S? TO- t^ UT chiefly are we bound to praise Thee for the r-2?4:; tsd: glo - rious Resur - rec - tion of Thy Son Je - sus Christ :b=q: t=;$=sc=:;^z :i=i: 1^ — g^-,gl_-,^:=gz:g: our Lord : for He is the ver - y Pas - chal I^mb, which -7 i-*^-i ^==r -gi yy- rszT.^ XS3 :^:^^^22^ was of - fer - ed for us, and hath tak - en away the i T=q: 5JES 2^ -.^^0 1^=3?: in of the world ; Who by His death hath de - stroy- it: -J2IZS1 ps^: ^g^-^- i ed death, and by His rising to life again, hath re - stor - ^=x^-==-^-=^- ^=^1= -/^ — gi-^ — g'- -t^-f- ed to us ev - er - last - ing life. There-fore with Angels, etc. 52=^: -g^^— gl =siz:^-^i; - '■^ ^9—f^—o' /^ -^ /5/ ^ J.fL>^ rj J. ! "^ 1 ci - pies ; where- at the whole earth re - joi - ces with P 3=i!=^ — ^4^.-;^=: -'^— >SJ -g 1!^- -^4- ex - ceed - ing joy. There - fore with Angels, etc. ^ >:^ 26 MORNING SERVICE, OR THE COMMUNION 1 or the Festival ol" the lyinity. ^HMMBHI^H r\ 1 ^BIB^^^^^HI y 1 1> 1 L^H^VHT^vfl ■WBiWV^L\B ^ f A\ ^ ^ ■' '^ ' ^H>^B*l!niM wSmmMA ti HO with Thine Only-begotten Son, and the Holy Ghost, ^= tsrziZ. -*g-S^— 'g-^^- Fa - ther, who art in heav-en; Hal - low -ed ::l==t z:5tzrJ?5^z=5t -x -^~^- 5!ri^ be Thy Name ; Thy king-dom come ; Thy will be done, zziq: ^ L &L e - vil ; For Thine is the king-dom, and the pow- er, ii= -■X 1==t ^s^^^±^!?^:=j^z^.i=!?:^i=zt. and the glo - ry, for ev - er and ev - er. Cbc Uerba. ■^=^- -■ri—^^ ^ 5^ :jS^t:l UR Lord Je - sus Christ, in the night in which He was f Z_^_^>z=^= ijg," g: (a) Here he shall take the Plate, with the Bread, iu his be - tray-ed, took bread ; (^)and when He had hand. P TSZL :z:tii:^ given thanks, He brake it and gave it to His dis - ci- pies. pfc^ ^ -^ 2? -r i 1 ^ c^ ^ fQ 5:^— 1 1 1 1 — \ 1 1 — ^ — ^ 1^ say - ing, Take, eat ; this is my Bod - y, which is giv - en fi -7^ — ^ ^ for you ; this do in re-mem-brance of Me. ^ ^^ 30 morjying service, or the communion ^ -^ — ^ 3221:1: 1113?] AFT-ER the same manner, also, when He had supped,* ■^^ -JS2L ts^t He took the cup, (/^)and when He had given '/') Ik-re lie sIihII lake thf Cup in hi.s JST :^=Z22: thanks. He gave it to them, say-ing. Drink ye all of it; 7^: LSI Z3-ZZ11: :TjS?r: this cup is the New Testament in My Blood, which is shed for i -zx:5Ln: z]-z^ i^ -75*- jsr you, and for many, for the re - mis-sion of sins; this do ye,f I [sn :^- -s^—^ ^- as oft as ye drink it, in re-mem-brance of Me. -^ — 7^ -^izz^ CHRIST, Thou Lamb of God, that tak- est a - way -<&- ^ g)— Si HE Peace of the Lord be with you al - way. tf 3n,€:: men. " : i,< II ^luill thf l»i-trihuli()ti Ij^-uin. • Wu.ii -h.- Miiiiviri yivt-lii 111.- l;ii-.i>i. i,.-«.!m':: >«y Take and eat, this is the Body of Christ, given for thee. Take and drink, this is the Blood of the New Testament, shed for thy sins. • !•. Ji<-iiii-.«-iiiJt the <"ommiiTncHiit>. rli»- MiM!«ttM ;nay -hv ■ The Body of our Lord Jesus Christ and His precious Blood strengthen and preserve you in true faith^ unto everlasting life. * in the true faith— [v. s. 8.] * ^:& -^^ 32 MORxXING SERVICE, OR THE COMMUNION ♦^ If the consecrated Brcail or Wine be spent before all have communed, the Olinister shall consecrate more, saying aloud so much of the Words of Institution as pertainetb to the element to be consecrated. ' When all have communed, the Minister shall reverently cover what remaineth of the Rread and Wine. 1 Then, all standing, may be sung : {Tbc IRunc S)fmittf0. i^: LORD, NOW lettest Thou Thy servant depart injpeace For mine eyes have seen Thy sal- A light to lighten the GLO - RY be to the Pather, and to the AS IT was in the be- va- Gen- Son: ginning, is now, and ever shall tion: tiles: be: according to Thy which Thou hast pre- pared before the face of all peo and the glo- ry of Thy people Is ra- and to the Ho- ly world with- out end. A- Word; pie; el. men. ^ tlbc Ilbanftscjiving. — 1-^- i=3^ll GIVE thanks unto the Lord, for He is good. ■^^^ ND His mercy endureth for ev - er. •J^ ^::f MOKXIXG SEJ^riCE, OR THE COMMUNION 33 K thank Thee/J^ Lord God Almighty, that Thou hast q==1: .^__^_^_^, vouchsafed to refresh us with this Thy salu - ta - ry gift; and we i I 1^ i^ beseech Thee, of Thy mercy, to strengthen us through the same, :5?: in faith toward Thee, and in fervent love toward one another ! lJ:l -f^- through Jesus Christ, Thy dear Son, our Lord, Who liveth and :?ZL ^EEEEEi^ reigneth with Thee and the Ho - ly Ghost, ever one God, world without end. men. * We give thanks to Thee, AImi;jfUy God, that Thou hnat refreshed us through this salutary gift: and we beseech Thee, that of Thy mercy tliou wotddst strengthen — f u. s. s., G. s.l \fH ^:& 34 MORNING SERVICE, OR THE COMMUNION *" TIk'H may l>e sting llu' Salutation aa 1 Benedicamus, as here followeth 1 HE Lord be with you. ND with thy spirit. 4=q: 25^— g^=g ^i^-^ii:^ LESS we the Lord. -3-^— s< ;s'-: HANKS be to God. ^bc JSencNction. HE Lord bless thee, and keep thee. The Lord -ft$»-i make His face shine upon thee, and be gracious unto thee. * * MOKN/XG SERVICE, OK THE COMMUNION 35 i — i-f^+- The Lord lift up His countenance upon thee, and * give thee peace. ^:& -« ilbe ®r&er of lEarl? Service, or fiDatins. 1 A llymn of Invocation of the Holy Ghost, or aijother Hymu, may be sung. ^ Then shall be sung the Versicle and the Gloria Patri, as here followeth, all standing to the end of the Veuite. Ebe Dersfcle. LORD, open Thou my lips. ND my mouth shall shew forth Thy praise. 1^=:^-^ 2fc^ AKE haste, O God, to de er me. ^ \]\Vj haste to help nie, O Tord. * ^i< ORDER OF EARL Y SERVICE, OR MATINS 37 I i LORV'> be to the Father, and to the Son, and to the =22: -^ «*- Ho - Iv Ghost S it was in the beginning, is now, and ever shall be, P (^ ^- -^ ^ (9 -S*- world without end. A - men. Hal - le - lu - jah. ^ During the PaivSion Season the Hallelujah is omitted. \ Then shall follow the Invitatory ^^ I'h the Venite. On Festival Days a special Invitatory may Ix? used. Th.- Invitatory may Ix; repeated at the end of tlic Venite. Cbe llnvitatori?. I i w COME, let us worship the Lord. m OR He is our Mak - er. * u. 8. 8. and G. 8. give the entire Gloria Palri to the Congregation. ^:& 38 ORDER OF EARLY SERVICE, OR MATINS Venite, Exsui.temus. Tone VIII. «5^ -(2- 1. O COME, let us sing unto the Lord: giv- God Let us come before His presence with thanks- For the Lord is a great In His hand are the deep places of the' earth : The sea is His, and He made O come, let us worship and bow . . down : For He is our ' God: GLO-RY be to the Father, and to the . . .1 Son : AS IT was in the beginning, is now, and ever,' shall ing It: be Z\^z 1b^mn. ^bc iPsalm. T fhic or in.)!v Psalms""='l' '"■ ^""K. At the fud of oach Psalm, ' < Gloria Patri"*'"'' ^>e ^liii!,'. All Antiphon '"»iy ^'^^ ""•-''^ ^^'^'i <-•"'• Psalm. ^be Xesson. ' ( MH' oi- more Scripture Lessons ^:i«y 'J^' >"*?»•''• Ill thc'('ht)rai lU'juliimol' ih>.' Lesson ^^tire are three infiections, the Period, the Monosyllabic Period, ami the Iiitenogation : e. •^. f Annmmcemeni, ^ The /^^>5/ Lesson at the sixteenth Verse. But they have not all Period. Monosyllabic Period. obeyed the gos - pel and hearing by the word of God who Iiitcrrogalion. halh believed our re - port? ^ •!^ ORDER OF EARLY SERVICE, OR MATINS ^^ 39 Venite, Exsultemus. Tone VIII. Fin. I. :;:^ ^^^B -^+- I. let us make a joyful noise to the[ Rock of our 2. and make a joyful noise un 3. and a great King 4. the strength of the hills 5. and His hands form - - - - 6. let us kneel before the . 7. and we are the people of His pasture, and the, sheep to a- is ed Lord and to the world with ------- -i out sal- va- Him with bove all His al- the dry our Mak- of His Ho- ly end, A- i Fin. 2. * After eii' i: Lesson rnay be !«ung : tion. psalms, gods. so. land. er. hand. Ghost ; men. II \ iimiif iMim HI n ^ J - \ II II I^BBV^^Hb /; ' '1 " 6> ^ 2? ^ ^ ^ — ^— — ^— H LORD, have mer-cy up - on us.^ i HANKS be to Thee, O C^d. •■ Alt.;: tlK.' Lessons, '^ Responsory, or a Hymn, inay be sung. •; .\ I'M* 1 Exhortation, • r Sermon, inuy tln.-n follow. i=|: ^- --■^=^- i But Thou, O Lord, have mer - cy up - on us. Thanks be to God.— [v. s. 8.] ^ 15^ 40 ORDER OF EARL Y SER VICE, OR MA TINS Zhz Canticle. \ Till- Te Deum, <" tlu- Benedictus, i"*^}' 'JC used. The Congregation shall stand to the end i)f the Service, except that it may kneel during the I'niyers. TE DEUM LAUDAMUS. bg=g;gzzg^: t^z^-nz^T^ praise Thee, O God ^— ^- 4-^- I 1 =b?=^ ^^ E ac - knowl-edge Thee to be the Lord. 2. All the t. \ ^- :^=^^?z:s^_- -X -zj^ '^^JL --^^E^^^l earth doth wor-ship Thee : the Fa - ther ev - er - last - ing. % (9^ <&- -^ ^- --J-;^— -J: -^1 :5C^ 3. To Thee all an - gels cry a - loud : the heav - ens, ^=^— -gz^^ 1^=^ V-A- ^~7^ 1^= and all the pow-ers there- in. 4. To Thee Cher - 11 - bim \-=^^r^J=Z^- -f9 — -i?- 1^=32: and Ser - a - phim : con - tin - 11 - al - ly do cry, h~^M^ TS*-'^ _4_ — ^_^__j_J_J.4---^ V ^ 5. Ho ly, Ho ly, Ho-ly: n-=--^=^- -^- :«:z=^ -I f- , ^ — ^_^ ^ — ^ Lord God of vSab - a - oth ; 6. Heav-en and earth are full ^:& ^/f r^ ORDER OF EARLY SERVICE, OR MATINS 41 '4 I IE: ^^^^g^ of the Maj - es - ty : of Thy glo - ry. 7. The '-ir^ — g: ^^^=3t ^- ~JS1 glo - ri - ous com - pa - ny of the A - pos-tles : praise I I I I -A — I — J- -^1 -^— I — o^ Thee. 8. The good - ly fel - low - ship of the Proph-ets : -^' A ! J I I -^-l i— ,i>— ^ -S- praise Thee. 9. The no - ble ar - my of Mar - ty i i^ zst r^^-S* praise Thee. 10. The ho - ly Church through-out all the -;— ^ 3 ^ , I I I -25' ^ :^t?^ (^ world : doth ac-knowl-edge Thee; 11. The Fa - - ther ^^-. :->=^ of an in - fin - ite Maj - es - ty; 12. Thine a - dor t=:??z-j=2^ ^i^izz^ii i^i:^ 12^^ a - ble, true : and on - ly Son; 13. Al so the Pi ^ ' 1 1 1 1 III 1 1 y i*-. /[ J ^ A 1 ! ^ ^ .^ '^^— im ' \ ^ ^ ^ . ^ "^ ; aUi S) '"- Ho - ly Ghost: the Com-fort-er. 14. Thou art the King ^ t *:> 42 ORDER OF EARL V SER VICE, OR MA TINS Ill A V lE^ -Gf <^ 5^a ^ — ^ f!> 6f- of Glo- ry : O Christ. 15. Thou art the ev - er - last - ing J— J- I I I --SL -^2—:^- Son : of the Fa-ther. 16. When Thou took- est up - on Thee \ v—A 1- -- g^— ^=fe^^^ to de - liv - er man: I'hou didst hum - ble Thy- self to n ^ 1 , ! 1 , 1 1 1 1 1 /r> /Tj Jl f^ ri ^ C^ C0> <^ , s^ . '^ 5 "— 1 be born of a Vir-gin. 1 7 . When Thou hadst o - ver g 4 1 V 'S=^=^ :5J=2^ s?z^— ^- I p come the sharp-ness of death: Thou didst o - pen the king-dom — A \-X- -t^ -5* f5> ^ t3^ — \ ^ -n i ^- of heav- en to all be - liev - ers. 18. Thou sit -test at ■pj=£^=j^_-zE^; ist the right hand of God : in the glo - ry of the Fa - ther :!:- ^ M , I I— J ^-A: 19. We be- lieve that Thou shalt come : to be our Judge. -I 1- — ^ 6h ^- 1^- ^ =Z^ 3^ ^ ^ 20. We therefore pray Thee, help Thy serv -ants: whom Thou hast ^ * ^:& -^ ORDER OF EARLY SERVICE, OR MAT/AS 43 1^ \ 1- j^^' ^g=^!-^»-7si— iji — Z ^^=^^=^^=^= ^^ (9 «- <&- ^-T- :ir-S2= re-dcem- ed with Thy i)re - cious blood. 21. Make them to be :t^^ :^. 12^1=15: -^ g s)— ^- -^ — ^^-gi al num - ber-ed with Thy saints : in glo-ry ev- er - last - ing. VX :;=q: T=l: -y^^- -^ — g>-^ — ^:?-25(- -J^:;^: ^^-^ 22.0 Lord, save Thy peo-ple : and bless Thine her- it - age. -^ -^-'5'- ^-7S- ^=d=5 t:^ir-r-g^g=^- 75^ — ^- — ^ 1^ 23. Gov- ern them : and lift them up for ev - er. 24. Day ^A 1- 12^: 1'^^ G^—^7:ro——r^ i^^-z^ P by day: we mag-ni - fy Thee. 2 5.And we wor-ship Thy name : ^=?=^ ev-er, world with-out end. 2 6.Vouch-safe, O Lord: to keep n •• 1 III 1 1 1 _J L/ <^ J 1 1 : : .11 I 1 I : 1 ^ . ^ .^f I'l .\ '^'- ^\ e> ' ' ' ^ _.' ^' \^ ^^ '^ ^ f^ 1 J ^ - <5* 5;) (^ <^ ■^ Liz. . . >- ^> ^ ^-" us this day with-out sin. 27. O Lord, havemer-cy up-on us ^-A V - -^ 1- -gl-jg— ($■ iS- ^^ ^ ;^ ^- have mer-cy up - on us. 28. O Lord, let Thy mer-cy be up-on us: '1 /\*- '? 1 \ 1^ ri! \ j-^ ^ 1 Cp gj ^J^ '^.J^-^—C^ _J ^d — ^ — ^ A ^ ^ "^ /j>-T^ =^ as our trust is in Thee. 29. O Lord, in Thee have I T--—J 1^,^-/1!'^^ U h,^^^ — H— !-«► H^ '^^ ^^=5itt^^3^ trust ed : let me nev-er be con-founded. A ^^ men. 44 ORDER OF EARL V SER VICE, OR MA TIN'S ^^ Benedictus. St. Luke i. t Au Antiphon may be sung with the Beuedictus. Tone II. -f?" ^ ^- +'5'- 22: BLESS-ED And hath As He That we To per- The oath That we, In ho- And thou, be the Lord God of ... . raised up an horn of salvation for spake by the mouth of His holy . should be sa\ed from our . form the mercy promised to our . which He sware to our father being delivered out of the hand of our liness and righteousness be - - - child, shalt be called the prophet of the 10. II. 12. Isra- us : proph- ene- fa- Abra- ene- fore High- m To give knowledge of salvation unto His . peo- Through the tender mercy of our God To 2:iv( e light to them that sit in darkness and in! the shadow of GLO-RY be to the Father, and to the . . . AS IT was in the beginning, is now, and ever el: ets : mies : thers : ham : mies : Him: est : pie : death : Son : I shall I be : f Then shall be said the Prayers here following, or the Suffrages, the Litany, or other P^ave^^. -?-t— 1 ! ^ — -1— -^ ^-^^ %tz^J^- rj <>■ rJ '^ C> ^ ORD, have mer - cy up - on us. ORD, have mer - cy up - on us. Christ, have mer- cy :=!= ■js?: Jl21 up - on us. Lord, have mer - cy up - on us. * K& ORDER OF EARLY SERVICE, OR MATINS Bknkdictus. St. Luke i. t Ad Antiphon may be sung with the Benedictus. Tone II. 45 I -t-SH :T= lo. II. for He hath visited and redeemed in the house of His serv which have been since the . and from the hand of all . and to remember His holy . that He would grant .... might serve Him all the days for thou shalt go before the face of the Lord to pre- by the remission whereby the Dayspring from on high hath 12. to guide our feet into the and to the world without ' His peo- ant Da- i world be- that hate cov- e- un- to 1 with- out of our pare His of their j vis ited 1 1 way . of Ho- ly end, A- pie; vid; gan: us ; nant ; us; fear, life. [ ways ; sins, us, peace. Ghost ; men. «[ Then all shall sav UR Father, who art in heaven ; Hallowed be Thy Name ; Thy kingdom come ; Thy will be done, on earth as it is in heaven ; Give us this day our daily bread ; And forgive us our trespasses, as we forgive those who trespass against us ; And lead us not into temptation ; But deliver us from evil ; For Thine is the kingdom, and the power, and the glory, for ever and ever. Amen. •^ Then may be s\inj? : 0 ^ [IpniHfrfimno s V "t i\ 1 rt^ 1 fT, 1 v; '^« HE Lord be with you. '^ >M 46 ORDER OF EARL V SERVICE, OR MATINS pMl ^.jj ^^--^ fei ND with thy spirit. ET us pray r Then shall be .said the- Collect for the Day.* Ill, Collect for 'Sunday is said throiij?lu>ut the week, until Friday; but on Saturday tiu- Collect for the ensuing Sunday is said. Aiu 1 MH Collect for the Day, „ther Collects may \m: said, concluding with the one here followiui;. A Versicle may bo used with the Collect. LORD, our heavenly Father, Almighty and Everlasting ^z=;^i=r^ God, Who hast safely brought us to the beginning of this day : S \^A Defend us in the same with Thy mighty power; and grant that :l «=--=F this day we fall into no sin, neither run into any kind of * For rules for the Choral Reading of the Collects see page 9. But observe that when the full Ending is not used, and the Collect ends with "Through JcKua Christ, our Lord," the inflection is fa, re. The first Collect (for the Day) and the last Collect, according to pre-Re formation use, always have the full Ending and its regular inflections. ^ Chr, Christ, our Lord. ►^ ORDER OF EARL Y SER VICE, OR MA TINS 47 ^ g^l -^ dan - ger ; but that all our doings, being ordered by Thy governance, may be righteous in Thy sight ; through Jesus ^ 1^ Christ, our Lord, Who liveth and reigneth with Thee and the P 3?=^ ^ H$>- Ho - ly Ghost, ever one God, world without end. men. ' Then may be ^wm. \-^ ^ -^.^ g^l :^: LESS we the Lord. -l-U-H V g T g; -^ 'g^-s/ - HAXKS be to God. • r. 8. 8. allows the use of the Salutation before the Benedicamm. For melody see page 9. ^j« — ^\ K& 48 OHDER OF EARL Y SERVICE, OR MATINS I ni' service may ond with the Beuedicamiis; or a closing Ilymu may uc ^uug, alter which may be said : n ^ V •+ 1 /T . 1 inY i/r?i ^^ 1^1 vvu I'yi ■ «^ ' (^ ''^' a HE Grace of our*Lord Je - sus Christ, and the Love % of (iod, and the Communion of the Ho - ly Ghost, 1: be with you all. ^W _A .|i /'T . fal - - - men. * Tlie grace of the Lord [u. s. s., g. s.] [|e<@vO^^^QK^v5>^ *• -y*M •ii^ ^■< tTbe ®r&cr of evening Service, or IPespers. 'i A Hymn of Invocation of the Holy Ghost, or another Hymn, may 1x3 sung. ^ Then shall be sung the Versicle and the Gloria Patri, as here followeth, all standing to the end of the Psalm. ^be Dcrsicle. LORD, open Thou my lips.* ND my mouth shall shew forth Thy praise. ■±ZZZ^^ZI!^~ ^ a? g> >g- AKE haste, O God, to de - liv - er me. ^ 0 ! 1 \ ^ ' 1 1 1 ' ■ n"\ ..*-,■ ! ^ 1 e^ ' ^ 1 AKE haste to help me, 0 Lord. * r. 8. 8. and G. 8. omit the first Vertiide and Resporu^. ^ p:f 50 ORDER OF EVENING SERVICE, OR VESPERS LORY'f^ be to the Father, and to the Son, and to the c* ^- Ho - ly Ghost : I: +'$'-»- S it was in the beginning, is now, and ever shall be. f -c> f^- -^-=A-- G ^- world without end. A - men. Hal - le - lu - jah. *[ During the Titssioii .Seasdii tlie Hallelujah i> omitted. ^bc ipsalm.t ^ One or more Psalms .sluiU l)e suns. At the end of each Psalm, the Gloria Patri shall be .sung. An Antiphon nuiy he used with each Psalm. ^be Xe5son4 *■ oiif or more Scripture Lessons shall be read; and after each Lesson may be sung: LORD, have mer-cy up - on us.§ * r. s. s. and G. s. give the entire Gloria Patri to the Congregation. t For the Psalms and additional settings for the Canticles see "The Psalter and Canticles Pointed for Chanting, etc.'' by the same Editors. (G. C. Pub. Bd.) I For rules for the Choral Reading of the Lessons see page 38. --;0-- -^=^=^Gr- 1^ 1 I- --^ €^- T= But Thou, O Lord, have mer - cy up - on us. Thanks be to Gnd.—[v. s. s.] ■^ K-*- ^:^ ORDER OF E VENING SER VICE, OR VESPERS 51 't -^ ^ HANKS be to Thee, O God. * AiuT in*' Lessons, a Respousory, or a Hymn, may be muir. t Then may follow a Sermon, after which the Offerings may be gathered. \ Then, all standing, may be sung this Versicle. But on Festival Days, a special Versicle may be used. Dersfclc. ET my prayer be set forth before Thee as W in - cense ND the bfting up of my hands as the evenin< ^^ I I- fice. ■* •5^ t1^ 52 ORDER OF EVENING SERVICE, OR VESPERS ^be Canticle. * Either the Magnificat, or the Nunc Dimittis, may be used. An Antiphon may be sung with the Canticle. Magnificat. St. Luke i. Tone VI. P -r^ MY SOUL For He For be- For He And His He hath doth magni hath hold, that is mighty hath done to mercy is on them shewed strength .... 7. He hath put down the mighty . 8. He hath filled the hungry 9. He hath holpen His servant Israel, in remembrance of GLO-RY be to the Father, and . . . AS IT was in the beginning, is now, and ev- fy re- from the gard- hence- me that with great fear His from with their good His mer- to the er shall Lord ed: forth : things: Him: arm : seats : things cy: Son: be: ^ Nunc Dimittis. St. Luke ii. Tone VI. -It. I. LORD, NOW lettest Thou Thy servant de- 2. For mine eyes have seen Thy . 3. A light to lighten GLO - RY be to the Father, and . . AS rr was in the beginning, is now, and ev- part Sal- in va- the to Gen- the er shall peace : tion : tiles : Son: be: * ti< ORDER OF EVE XIX G SERVICE, OR VESPERS Z\ic Canticle. litJuT the Magnificat, or tin Nunc Dimittis, may \k- usf.l An Antipbon uiih I h Canticle. Magnificat. St. Luke i. Tone VI. 53 ly \>v viiiii; * 3te 1. and my spirit hath rejoiced in . 2. the low estate of 3. all generations shall . . . . 4. and ho ------- - 5. from generation to . . . . 6. He hath scattered the proud in the imagina- 7. and exalted them 8. and the rich He hath sent God His call gen- fion of emp- 9. as He spake to our fathers, toj Abraham, and to his seed and to the world with - out my hand- me is Sav- maid- bless- His er- a- of low their de- ty a- for Ho- ev- ly end, A- lOur. en : ed. Name, tion. hearts, gree. way. er. Ghost ; men. Nunc Dimittis. St. Luke ii. Tone VL 1. accord ------ 2. which Thou hast prepared before the face 3. and the glory of Thy . I and to world with ------- -i out ing to Thy ; of peo- the all pie Ho- peo- Isra- ly out end. A- \\^ord ; pie; el. Ghost ; men. ^:& — ^^ 54 ORDER OF E VENJNG SER VICE, OR VESPERS ♦■ Then shall he said the Prayers here following, or the Suffrages, the Litany, or other Prayers. 1^- t=^- -121 ORD, have mer - cy up - on us. MmtfWMB 151 ORD, have mer - cy up - on us. Christ, have mer- cy A 1 1 1 ■ff 1 A ^ ^ i 1 J - up - on us. Lord, have mer - cy up - on us. f[ Then all shall say UR Father, who art in heaven ; Hallowed be Thy Name; Thy kingdom come ; Thy will be done, on earth as it is in heaven ; Give us this day our daily bread ; And forgive us our trespasses, as we forgive those who trespass against us ; And lead us not into temptation ; But deliver us from evil ; For Thine is the kingdom, and the power, and the glory, for ever and ever. Amen. ^ Then mav be sung *- ■H9^ M) with thy spirit. ► ^ ORDER OF EVKXIXG SERVICE, OR VESPERS 55 E r us pray ' Tlun ^Imll be Mii«l the Collect for the Day.* ^ The Collect for ^uiulay i> Miiil throiijiliout the week, until Friday, inu un >HMiril.i> tiK' Collect for the eii.siiing Sunday is .'e said, and albr tlmt Uii Collect for !'. ■ . \ Versicle 'nny I." M-d with the Collect. Derslclc, IP^B iv^ 1^1 ^^ 1 HE Lord will give strength unto His ^ — I peo - pie. l^B^Si HE Lord will bless His people with peace. Collect for peace. |Bi«gHanrra 1'^ ipjCflB^Sc'^w J ••> I^^IDbljBlq6\S rl if II^An T ^ and all just works do pro - ceed : Give unto Thy servants liL-?> ^_ . ^_ ftr^ ^PTy Y~ \SiM "5" ^J that peace, which the world cannot give : that our hearts may •i' * For rules for the Choral Reading of the Collects see page 9. But observe that when the full Ending is not used, and the Collect ends with " Through Jexu* ChrUt, our Lord," the intleciion i.s/a, re. The tirst (Collect (for the Day; and the la-st Collect, according to pre-Reformation use, always have the full Ending and its regular inflections. ^ Christ, our Lord. 4 ^i*- ^i« 56 ORDER OF EVENING SERVICE, OR VESPERS n be set to obey Thy commandments, and also that by Thee, -«»+- we, being defended from the fear of our enemies, may pass our time in rest and quietness; through the merits of Jesus ^ Christ our Sav - iour. Who liveth and reigneth with Thee P ^ ■ l-fS"- and the Ho - ly Ghost, ever one God, world without end. «5> G^ men. ^ Then may be sung : 1 , . 1 VT ! ^ ^j \ A . ^ a ^ 1 vl/ ^ LESS we the Lord. 32: 5!=22==^'^=2?- HANKS be to God. 4 ^/^ ^^ ORDER OF EVENING SERVICE, OR VESPERS 57 «' The Sorviiv may oiul with the Benedicamus ; <'r a ilosiiii; Hymn may be suiij;, afUT which may be said : P ■+'5»-H- a Hgy-t gi- HE Grace of our*Lord Je - sus Christ, and the Love :sz=^: of God, and the Communion of the Ho - ly Ghost, be with you all. men. * The grace of the Lord [ u. s. s., g. s.] ^be Xitan?< ^ The Litany may be used ai Eveniug Service on Sundays. Wednesdays, and rridnys, on Days of Humiliation and I'rayer, and at. Morniug Service on Sundays when ttiere is no Communion 4^ §m I :g-2^-=^: ORD, have mer - cy up - on us. Lord^ have mer - cy -^rs^—^- Christ, have mer - cy up - on us. i :1==^: :st: iS;^ Chj'ist, have mer - cy up - on ns. 1^-25*—^ J^ord, have mer - cy up - on us. Lord, have mer - cy up - on us. (^) Christ, hear us. =1 iz:=qz=qi -a* "^ gy-gi — ^- O Christ, hear us. * I th- THE LITANY. ^^ 59 I -rJ rj ^ ^ Z^ g- ■JSrH^lt. C) God, the Fa - ther in heav - en; I :p=t :zgL_g g^-=:zg: -<*-75> — '^- Have mcr - n* /// - on us. P ::l=:1: -s» P — g^ g* — -Q- ■J^ZIIZ^S. O God the Son, Re - deem - er of the world ; ^ s* g* ^^±=^ Have tner - cy up - on us. f 3t=2t () God, the Ho - ly Ghost ; Hare nicr - cy up - on us. i :^= I ^ I)e gra - cious iin - to us. I Spare us, good Lord. -I \- :stz=^: He gra - cious un - to us. I I ^ ^ 'g- He/p us, good Lord. -¥< >.f 60 T//£ LITANY ^!!t 11 ^- -JSL \ rom all sin ; From all er - ror ; From all e - vil ; -1^- Good Lord, de - liv - er us. fe= ^zzz-^ i^zz^- ___^ From the crafts and as - saults of the dev - il ; From sud-den ^^z^- -zsi — ^ — gi — s^ •s^ and e - vil death ; From pes - ti-lence and fam - ine ; From war i is: and blood - shed ; From se - di - tion and re - bel - lion ; i 5^; i -s* Ti-a- 33^ From light-ning and tem- pest ; From all ca - lam - i - ty by -^-^g^ 1^ fire and wa-ter; And from ev - er - last - ing death ^± mm Good Lord, de - liv - er us. i -J^ 3^Z=I2^=Z^ :q^^: r-1: -7^- 1^ -6f- ist: I^y the mys - ter - y of Thy ho - ly In- car - na - tion; ^ ►it ^.f THE LITANY 6i -gl —7^—S>- =;^=^=^ 1^ By Thy ho - ly Na - tiv - i - ty ; By Thy Bap - tism, Fast - ing, i 1=t ^ g^ f^ I and Temp- ta- tion ; By Thine Ag - o - ny and Blood- y Sweat ; -g* — g^- By Thy Cross and Pas - sion ; By Thy pre - cious Death and I -^L -^ -^1 a Bur - i - al ; By Thy glo - ri - oiis Res - iir - rec - tion and rjz: i^ As - cen-sion ; And by the com- ing of the Ho - ly Ghost, V i 1 /T 1 m ^ i^ *" W) Sf ^ ^ nJ the Com - fort - er i w I^ Help us, good Lord. ^ -sz=i^ 1=t --g^-- gt f i * I n all time of our trib - u - la - tion ; In all time of our i=:^ T=^ ^-=X :st i^ pros - per - i - ty ; In the hour of death ; And in the day of judg - ment : * ^:« j 62 THE LITANY i -<» 7^ ^- /^ifi^ ?/j", ^(f^^^ Lord. TL=i^S_ \\ e poor sinners do be - seech Thee -^ -^ s? gi g ^ To hear its, O Lord God. znjar^i ■^1 A nd to lead and govern Thy holy Christian Church| in* the I right To preserve all pastors and ministers of Thy Church in the true knowledge and understanding of Thy Word, and in holiness of To put an end to all schisms and causes . . . . of of-| fence; To bring into the way of truth all such as have erred, and are de- ceiv- To beat down Satan under our To send faithful laborers into Thy har- To accompany Thy Word with Thy Spirit . . . and To raise up them that fall, and to strengthen such as do And to comfort and help the weak -hearted and the dis- tress-j ed : way life ed; feet ; vest ; grace ; stand ; I '\ g' ^ We he - seech Thee to hear us, good Lord. * i ^ \^-\ g^ ^ g^: And to rule and govern Thy holy Chris -tian Church:— [v. s. s., G. s.] *- THE LITANY ^J^ 63 I ■zL lo give to all nations peace and ] con- | cord ; To preserve our country from discord and con - - ten- tion ; To give to our nation perpetual victory over all its* . ene- mies ; To direct and defend our President, and all in au - thor- ity ; And to bless and keep our magistrates, and all our . peo- pie : i ■:^ We he - seech Thee to hear its, good Lord. { o behold and succor all who are in danger, neces- sity, and tribu- la- To protect all who travel by land or [ wa- To preserve all women in the perils of .child- To strengthen and keep all sick persons and young J chil- To set free all who are innocently im - - - - - pris- To defend and provide for all fatherless children and wid- And to have mercy upon ! all tion ; ter ; birth ; dren ; oned ; ows ; men : I ■^ JVe be - seech Thee to hear us, good Lord. i 2Z 3^ I o forgive our enemies, persecutors, and slan- derers, and to turn their hearts; To give and presene to our use the fruits . . of the earth ; And graciously to hear | our prayers P is: JVe be - seech Thee to hear us, good Lord. * Thine enemie*.—[G. H.] 4 t 64 THE LITANY I :n22] —-—A -=X- () I,ord Jesus Christ, Son of God; T22] -:^Z^^z^ We beseech Thee to hear us. 121 -i^m^ -i^ O Lamb of God, that takest away the sin of the world I -jsl -■g-si — ^- Have mer - cy tip - on :q=l=|: ^zz^. O Lamb of God, that takest away the sin of the world ; -^-^— -^ Have mer - cy tip - on US. I i s* — ^ O Lamb of God, that takest away the sin of the world ; -^-si ^ Grant us Thy peace "-=1 =-^ 1 — 153^=-^ Q Christ, hear us. ^=^- -19-^ — ^- (9 Christ, hear us. * * >i'& THE LITA.\Y 65 ^J« ^^H i^t^ii^ Lord, have mer - cy up - on us. i :5^2Ziz^ Lonf, have Jtier - cy up - on us. P :^ ^-t:}—^- C hrist, have mer - cy up - on us. i r^ g* s^- -^ g^ ^ Christ, have mer - cy up - on us. ^ z? Lord, have mer - cy up on us. i — g: TZX ^-J^l Lord, have mer - cy up - on \ Then shall the Minister, and the Congregation with him, say the Lord's Prayer, alter which n'.ay Vk- said one or more of the Litany Collects here iollowiiig. in OUR Father, Who art in heaven ; Hallowed be Thy Name; Thy kingdom come ; Thy will be done, on earth as it is in heaven ; Give us this day our daily bread ; And forgive us our trespasses, as we forgive those who trespa.ss against us ; And lead us not into temptation ; But deliver us from evil ; For Thine is the kingdom, and the power, and the glory, for ever and ever. Amen. 4. ^^ 66 THE LITANY Versicle. Xitani? Collects." i —--^'^ ■==-—-= gn O Lord, deal not with us after I our Help us, O (iod of our salvation, for the glory of . I Thy O Lord, deal not with us after j our O Lord, enter not into judgment with Thy serv- -; ant. Call upon Me in the day of trou - - - - - - ble. The Lord will give strength unto His peo- - - -\ pie. sins. Name. sins. I. O Lord, deal not with us after our sins. Neither rezvard tis accordiug to our iniquities. ALMIGHTY God, our heavenly Father, Who desirest not the death of a sinner, but rather that he should turn from his evil p way and live ; We beseech Thee graciously to turn from us those punishments w^hich we by our sins have deserv- |-ed, and to grant us grace ever hereafter to serve Thee in holiness and pureness of living; through Jesus Christ l^our Lord. Amen. 2. Help us, O God of our salvation, for the glory of Thy Name. Deliver tis, and purge away our sins, for Thy Najne's sake. ALMIGHTY and Everlasting God, Who by Thy Holy Spirit dost govern and sanctify the whole |^ Christian Church; Hear our prayers for all members of the |-same, and mercifully grant, that by Thy grace they may serve Thee in true faith; through Jesus Christ, Thy Son, I'^our Lord. Amen. 3- O Lord, deal not with us after our sins. Neither reivard us according to our iniquities. OGOD, merciful Father, Who despisest not the sighing of a contrite heart, nor the desire of such Pas are sorrowful ; Merci- * For rules for the Choral Reading of the Collects see page 9, and note on page 46. Inflection No. 1. ^Inflection No. 2. ^ Inflection No. S. -^^-r^~^ ^^r.i J '^ "i^ * ^.1^ Response-. THE LITANY Xttans Collects. 67 11 321 I. 2. 3- 4- 5- 6. Neither reward us according to our iniq - Deliver us, and purge away our sins, for Thy . Neither reward us according to our inicj - For in Thy sight shall no man living be justifi I will deliver thee, and thou shalt glori - The Lord will bless His people uities. Name's uities. ed. fy with sake. Me. peace. fully assist our prayers which we make before Thee in all our troubles and adversities, whensoever they oppress us ; and graciously hear us, that those evils which the craft and subtilty of the devil or man worketh against us, may, by Thy good providence, be brought to i^ naught ; that we Thy servants, being hurt by no persecutions, may evermore give thanks unto Thee in Thy holy Church ; through Jesus Christ, Thy Son, j^our Lord. Amen. 4- O Lord, enter not into judgment with Thy servant. For in Thy sight shall no man living be justified. ALMIGHTY God, Who knowest us to be set in the midst of so many and great dangers, that by reason of the frailty of our nature we cannot al- l^vays stand upright : Grant us such strength and protection, as may support us in all dan- j-gers, and carry us through all temptations; though Jesus Christ r^our Lord. Anien. Call upon Me in the day of trouble. I -will deliver thee, and thou shalt glorify Me. SPARE US, O Lord, and mercifully forgive 1^ us our sins, and though by our continual transgressions we have merited Thy punishments, be gracious unto i^us, and grant that all those evils Inflection No. 1. Inflection No. 2. f^ Inflection No. 3. ^ ^/& iS!< 68 T//E LITANY which we have deserved, may be turned from us, and overruled to our everlasting good ; through Jesus Christ, Thy Son, i' our Lord. A)nen. 6. For Peace. The Lord will give strength unto His people. The Lord will bless His people with peace. OGOD, from Whom all holy desires, all good counsels, and all just works i^o proceed; Give unto Thy servants that peace, which the world cannot l^give ; that our hearts may be set to obey Thy commandments, and also that by Thee, we, being defended from the fear of our enemies, may pass our time in rest and quietness; through the merits of Jesus Christ our Sav- |'4our. Amen. $ Inflection No. 1. ^ ,- {2=4 gJ— ^ Inflection No. 2. t2=t: Inflection No. 3. ^ ^ * ^ ^►^ (Ibc Suflraoes. Suffrages may W iKse