ANTHEMS - york.ac.uk
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In association with Matthew Camidge (1764–1844) ANTHEMS Edited by David Griffiths
Transcript of ANTHEMS - york.ac.uk
In association with
Matthew Camidge (1764–1844)
ANTHEMS
Edited by David Griffiths
MATTHEW CAMIDGE (1764-1844)
Anthems
Edited by David Griffiths
York Early Music Press 2013
With additions and corrections to the edition published in 2010
York Early Music Press (in association with the Department of Music, University of York; the Heslington
Foundation; and the York Early Music Foundation)
Department of Music
University of York
York
YO10 5DD
United Kingdom
Email: [email protected]
Web: www.YorkEarlyMusicPress.com
CONTENTS
Introduction .............................................................................................................................. v
Biography ...................................................................................................................... v
Source ........................................................................................................................ viii
Editorial commentary ................................................................................................ viii
Acknowledgements ....................................................................................................... x
Blessed is he that considereth the poor ................................................................................... 1
Consider and hear me .............................................................................................................. 8
Lift up your heads .................................................................................................................. 11
O save thy people .................................................................................................................... 16
Teach me, O Lord ................................................................................................................... 19
Thy way, O God, is holy ......................................................................................................... 27
Textual commentary .............................................................................................................. 41
v
INTRODUCTION
Biography
Matthew Camidge, the fifth or sixth of the seven children of John Camidge and his wife Elizabeth,
was born in 1764 and baptized at Holy Trinity, Goodramgate, York, on May 25 of that year.1
His
father was a musician and had been organist at York Minster since 1756. Matthew became a chorister
in the Chapel Royal, where he stayed until 1779 when he returned to York.2 From 1784 to 1822 he
performed regularly in the concert series in the York Assembly Rooms and from 1799 to 1842 was
organist at York Minster. He died in 1844 at the age of eighty.3 To his activities as a performer,
Matthew Camidge added those of a composer and, beginning in 1789, his works were published until
1826 or so, of which can be mentioned the sonatas for pianoforte, mostly with accompaniments for
violin and violoncello, which Temperley describes as ‘among the better English keyboard music of
their time, solid in craft though in no way original’;4 some songs; two works of psalmody; and his Six
Concertos for the Organ or Grand Piano Forte (c.1815), by which he is mostly remembered today. A
small number of compositions are now lost.
Cathedral Music
Subscriptions to Matthew Camidge’s compilation entitled Cathedral Music were initially solicited in
an advertisement which appeared in 1801, which stated, clearly with an eye on as wide a market for
his work as possible, that ‘the Author flatters himself the simplicity of style which marks the whole of
this work will recommend it to private families’. A further appeal for subscribers was made in the
following year and by 1805 a sufficient number of them had presumably been found since in July of
that year a further advertisement informs us that ‘the work will now be sent to the printer, and
published as early as possible’. The work was eventually published in October 1806 and its
bibliographical details are as follows: 5
Cathedral music consisting of a TeDeum [sic] Jubilate, Magnificat Nunc Dimittis, six anthems
/ A Sanctus & Responses, to the Commandments / with thirty chaunts single & double,
composed by Matthew Camidge, (organist of the Cathedral York) / to the whole is an arranged
part for the organ or piano forte. Price 1..1..0 or six copies 4..10..0.
London, printed & sold for the author, by Preston, at his wholesale warehouses, 97, Strand. &
of M. Camidge Petergate York.
[iv, 4], 69, [1] pp. 37 x 27 cm.
1 Robert Beilby Cook, transcriber and editor, The Parish Registers of Holy Trinity Church, Goodramgate, York, 1573–1812
Publications of the Yorkshire Parish Register Society, 41 ([Leeds]: The Yorkshire Parish Register Society, 1911), p. 241. 2‘The Chapel Royal: The children and their masters', Office-Holders in Modern Britain: Volume 11 (revised): Court
Officers,1660-1837 (2006), pp. 291-297. <http://www.british-history.ac.uk/report.aspx?compid=43830&strquery=Camidge>
Date accessed: 16 February 2008. 3 For other information concerning Matthew Camidge see The New Grove Dictionary of Music and Musicians, 2nd edn, s.v.
‘Camidge,’ by Nicholas Temperley; Die Musik in Geschichte und Gegenwart, 2te Ausg., s.v. ‘Camidge,’ by Anthony Ford;
and The Oxford Dictionary of National Biography, s.v. ‘Camidge, Matthew,’ by David Griffiths. The background to
Matthew Camidge’s musical activities in York can be found in David Griffiths, ‘A Musical Place of the First Quality’: a
history of institutional music-making in York, c.1550-1990 (York: York Settlement Trust, [1994]). 4 New Grove Dictionary, s. v., Camidge. 5 York Courant, 31 August 1801, 24 May 1802, 22 July 1805; York Chronicle, 16 October 1806.
vi
The work contains a dedication to the Dean and Chapter of York; an advertisement; and a list of
subscribers. There were subscriptions for 232 copies, ten of which number went to St. Paul’s
Cathedral, London, and nine to York Minster. Its contents, as indicated on the title-page, comprise a
morning and evening service, thirty chants (twenty-four single and six double), and the following six
anthems, listed below with the descriptor as it appears on the Index page of Cathedral Music:6
Blessed is he that considereth the poor Full anthem with verse
Consider and hear me Full anthem with verse
Lift up your heads Full anthem
O save thy people Full anthem with verse
Teach me, O Lord Full anthem with verse7
Thy way, O God, is holy Verse anthem
Matthew Camidge noted in the Advertisement in Cathedral Music that his Morning and Evening
Service in F were composed in the year 1779, but was not forthcoming about the dates of composition
of his anthems. Given that these latter were not included in the editions of the York Minster anthem
word-books published in 1782 and 1794, as surely they would have been if composed by those
respective dates, it can be conjectured that they were composed after the latter date and before 1801,
the date of the first advertisement for Cathedral Music, which specifically mentions ‘six anthems for
2, 3, & 4 voices’.8 All of his anthems, with the exception of ‘Blessed is he that considereth the poor’
which appears in the 1809 edition only, are listed in the series of successive York Minster anthem
word-books that were published between 1809 and 1854, thus indicating most probably a place in the
repertoire of the choir.9 But with the accession of E. G. Monk to the position of Minster organist in
1859, Matthew’s anthems, along with those of his father and son (John I, 1734-1803, and John II,
1790-1859), were sidelined; and as far as I can tell they have never been performed in York Minster
since, other than on very isolated occasions.
The style of composition employed in the anthems is one of ‘simplicity’, as indicated in the
Advertisement, in which the use of counterpoint is eschewed:
Considering it as highly desirable that every part of our Church Service should be plain and
intelligible, he [i.e. Matthew Camidge] has adopted the plan recommended by Mr. Mason in his
Essay on Cathedral Music; and in the Anthems, Chaunts, Sanctus and Commandments, which
make up the remainder of the Volume, has particularly studied simplicity, which he is sensible
must be their chief recommendation. He admits indeed, that there is a style of musical
Composition (such as that of Gibbons, Stroude [probably Charles Stroud, c.1705–1726],
Weldon, Farrant, Croft, Purcell, &c.) which from its grandeur and solemnity is more peculiarly
6 The Morning and Evening Service will be published in 2010 by the York Early Music Press. 7 Somewhat confusingly this anthem also has the epithet ‘verse anthem’. 8 A copious collection of those portions of the Psalms of David, Bible, and liturgy, which have been set to music, and sung as
anthems in the cathedral and collegiate churches of England … published for the use of the church of York, under the
direction of William Mason. By whom is prefixed, a critical and historical essay on cathedral music (York: Ward, 1782); A
copious collection of those portions of the Psalms of David, Bible, and liturgy, which have been set to music, and sung as
anthems in the cathedral and collegiate churches of England … published for the use of the church of York, under the
direction of William Mason. By whom is prefixed, a critical and historical essay on cathedral music [2nd edn] (York:
Peacock, 1794); York Courant, 31 August 1801. 9 A copious collection of those portions of the Psalms of David, Bible, and liturgy, which have been set to music, and sung as
anthems in the cathedral and collegiate churches of England (York: Peacock, 1809); A collection of those portions of the
Psalms of David, Bible, and liturgy, which have been set to music, and sung as anthems in the cathedral church of York
(York: Barclay, 1831); A collection of those portions of the Psalms of David, Bible, and liturgy, which have been set to
music, and sung as anthems in the cathedral church of York (London: Seeley, 1834); A collection of those portions of the
Psalms of David, Bible, and liturgy, which have been set to music, and sung as anthems in the cathedral church of York
(London: Hatchard, 1843); A collection of those portions of the Psalms of David, Bible, and liturgy, which have been set to
music, and sung as anthems in the cathedral church of York (London: Hatchard, 1854).
vii
adapted to Cathedrals; yet he conceives that more modern Music may be sometimes introduced
with advantage and effect.10
York Minster
Camidge’s anthems would have been performed in the services of York Minster at the following
times, as recorded by Hargrove twelve years after the publication of Cathedral Music.11
Ten o’clock. Cathedral service daily; performed in the choir. An anthem is always sung, unless
there be a sermon or litany. On Sundays and Holy-Days, a sermon is preached. The communion
is administered every Sunday.
Afternoon. Cathedral service on Sundays at four, in which an anthem is performed throughout
the year.
Evening prayers, on every week-day, at three in winter, and four in summer, in which an anthem
is performed.
N. B. On Wednesdays and Fridays in Advent and Lent, and during the six days before Easter,
there is no choral service or singing, either morning or evening.
At the time of Matthew Camidge’s appointment as organist of York Minster in 1799 the choir
consisted of six boys, seven singing men, and five vicars choral. His Cathedral Music was announced
for publication in 1801, as noted above, and in the next year, when Dean Markham took office, the
singing of the choir would seem to have been unsatisfactory, since it was later claimed that ‘the choir
could scarcely execute the ordinary choruses of anthems, and the choruses were therefore often
omitted’.12
An immediate result of this was an order made in Chapter on 21 June 1803 that Matthew
Camidge’s annual salary should be increased from forty-eight to sixty pounds ‘in consideration of the
great attention necessary to be paid by him in instructing the Choristers in Church Music’.13
And the
number of boys, which had in the first three quarters of 1803 temporarily fallen from six to five, from
the end of that year was permanently increased to eight.14
The longest and most imposing anthem of those contained in Cathedral Music, ‘Thy way, O
God, is holy’, contains a bravura baritone solo which, given the praise bestowed upon him in his
obituary, was almost certainly written for Edward Bennington, a York Minster songman from 1784
until his death in 1808.15
Mr. Bennington was well-known and justly esteemed for his fine tenor-bass voice. In early life
he was a protégée of the late Precentor and Poet, Mr. Mason, who entertained a high sense of
his superior talents as a singer. Without any disparagement to the present Vicars Choral and
Lay-choristers of the church of York, it may now be asserted, that the late Mr. Bennington far
excelled them all in a naturally clear, sweet, powerful voice; in musical taste and judgment;
and above all in feeling and expression. Far removed from lethargic apathy on one side, and
from discordant yelling on the other, he was all life and soul in the service. Nor will it be any
reflection on those in office for want of judgment in selecting, or of liberality in rewarding,
vocal merit, to predict that they will never fill his place with a singer of equal excellence. In
him the Church of York is deprived of the main prop and pillar of its choir, and the lovers of
Cathedral-music in this city feel the loss of talents ably exerted in the noblest part of Divine
Service.
10 The ‘Essay on Cathedral Music’ was first published in A copious collection of those portions of the Psalms of David
(1782), pp. xv-lii.
11 William Hargrove, History and Description of the Ancient City of York (York: Alexander, 1818), vol. 2, pt. 1, p. 84. 12 Dean Markham’s obituary, Yorkshire Gazette, 5 October 1822. 13 YML, Dean and Chapter archives, Chapter acts 1784–1807, H 9/3, p. 293. 14 YML, Dean and Chapter archives, St. Peter’s account, E2/24, initial payment on 11 November 1803. 15
York Herald, 9 May 1808.
viii
Source
The anthems have been transcribed from a copy of Cathedral Music in the editor’s possession. This
transcription has not been collated with other copies of the work which are known to exist, and which
are located in the following libraries:
Canada University of Toronto Library
U. K. Bodleian Library, Oxford; British Library, London; Cambridge University Library;
Glasgow University Library; York Minster Library (three copies); York Public
Library
U. S. Kent State University Library; University of Chicago Library; University of
Pittsburgh Library
I have failed to locate any surviving manuscript sources.
Editorial commentary
1. The accompaniments to the anthems in Cathedral music specify ‘Organ or Piano Forte’ and, if
played on the former instrument, it may be of interest for the performer to know the specification of
the organ of York Minster in 1806, which is that of the instrument reconstructed in 1803 by Benjamin
Blyth, the foreman of Mrs. Green who carried on her husband’s business of organ building after his
death in 1796.16
There is no surviving evidence to suggest that a ‘Piano Forte’ was used in the
services in York Minster, and the inclusion of that instrument’s name on the title-page and in the
score is evidence of one of the selling points of his music which Camidge wished to make to the
‘private families’ noted above.
Great organ Choir organ Swell organ
GGG long to eee GGG long to eee tenor F to eee
Open Diapason Dulciana Open Diapason
Open Diapason Stop Diapason Stop Diapason
Open Diapason Principal Dulciana
Stop Diapason Flute Principal
Principal Fifteenth Dulciana Principal
Nason Bassoon Trumpet
Twelfth Hautboy
Fifteenth Cornet III
Sesquialtra III
Mixture III
Trumpet
Clarion
Cornet IV
16 The specification quoted here is that which appears in James Boeringer, Organa Britannica: Organs in Great Britain,
1660-1860: a complete edition of the Sperling notebooks and drawings in the Library of the Royal College of Organists
(Lewisburg: Bucknell U. P., 1989), vol. 3, p. 354. The York Courant (1 August 1803) noted that the organ by that date was
‘now finished and set up in the cathedral’.
ix
It should be noted that, in common with other English organs of the time, there was no pedal division,
on the York Minster organ, but it did have ‘pedals to play the lower keys of the manual’, as noted by
Gray.17
The compass of the organ, as indicated above, extended to GGG below modern CC, with the
result that there are a few notes in the accompaniments to the anthems which cannot be played on
modern organs and which accordingly will have to be appropriately transposed, e.g. ‘Blessed is he
that considereth the poor’ (p. 6, bar 103); ‘Teach me, O Lord’ (p. 26, bars 200-202); and ‘Thy way, O
God is holy’ (p. 27, bars 1, 3, 9; p. 33, bar 208; p. 34, bar 231; p. 36, bar 267; and p. 39, bars 326-334,
and 341). Gray also noted that the wind pressure of the instrument was raised soon after 1814, with
the result that the tuning (which had previously been ‘considerably too flat’) was brought nearer to
concert pitch, which in England at that time was probably in the order of a' = 423 or 424 Hz.18
Most
of the indications for organ registration in Cathedral Music simply duplicate the instructions given to
the choir, i.e., Chorus, Full, loud, soft, and Verse. ‘Loud Organ’ (presumably the Great organ) is
called for in bar 58 of ‘Lift up your heads’ and in several places in ‘Thy way, O God, is holy’, in
which anthem there is also in bar 262 a direction to play on the ‘Swell’ organ.
2. Contemporary performance practice concerning the appoggiaturas in the anthems suggests the
following.19
a) Appoggiaturas before the beat:
Blessed is he bars 4, 8, 10, 12, 16, 18-19, 23, 27, 39, 41, 46, 50, 54, 56-57, 80, 86, 92
Consider and hear me bars 2, 4, 6, 10-11, 18, 21, 24, 30, 52
Lift up your heads bars 13, 18
O save thy people bars 8, 21
Teach me, O Lord bars 2, 4, 8, 12, 15, 19-20, 23-24, 26-29, 31, 33, 46-47, 99, 124
Thy way, O God, is holy bars 4, 8, 11, 15, 25, 37, 69, 76, 80, 82, 111, 135, 147, 234, 236, 238-239,
264, 266, 283, 285, 289, 291
These take one half of the following note value, with the following exceptions: ‘Blessed is that
considereth the poor’ bars 10, 16, 23, 50, and 54, where they take two thirds; and ‘Thy way, O God,
is holy’ bars 264 and 266 where ‘its strict Time is taken from the long Note’.
b) Appoggiaturas after the beat:
Consider and hear me bars 6, 11, 21, 26, 39
Teach me, O Lord bars 1, 5, 9, 13, 17
Thy way, O God, is holy bars 19, 24, 46, 343
Callcott’s rule is that, as with those before the beat, appoggiaturas after the beat take a half of the
time value of the notes which precede them.
c) Appoggiaturas both before and after the beat:
They way, O God, is holy bar 239 (organ)
Both appoggiaturas take a quarter of the time value of the note which separates them.
17 [Jonathan Gray], Letters to the Editor of the ‘Musical World’, relative to the York Organ (London: Seeley, [1837]), p. 6. 18
[Gray], Letters, p. 8; Arthur Mendel, Pitch in Western Music since 1500: a re-examination (London: Bärenreiter, 1979), p.
87.
19 J. W. Callcott. Explanation of the Notes, Marks, Words, &c, used in Music; 2nd ed. (London, c.1800), p. 27.
x
d) Two appoggiaturas placed together (after the beat)
Lift up your heads bars 11, 16, 43, 48
Teach me, O Lord bars 7, 45
Both appoggiaturas take a quarter of the time value of the note which precedes them.
3. The addition of ornaments to two anthems (‘Consider and hear me’ and ‘Teach me, O Lord’) in the
editor’s copy of Cathedral Music, in an anonymous contemporary hand, and indicated below,
suggests that the performers should consider adding embellishments to their respective vocal lines in a
stylistically appropriate manner.
page bar part comment
Consider and hear me
9 11 S 4th
note, upper part: trill
9 17 S 2nd
note: trill
Teach me, O Lord
20 24 S1-2 4th
note: trill
21 52 S1-2, B 1st and 2
nd notes staccato
21 53 S1-2 2nd
note: trill
22 58 S1-2, B 1st and 2
nd notes staccato
22 83 S 2nd
note: trill
23 101 S 2nd
note: trill
23 106 S 3rd
note: e'' quaver appoggiatura
23 118 S 2nd
note: trill
24 150 S2 2nd
note: trill
25 173 S1-2 2nd
note: trill
26 186 S1-2 2nd
note: trill
4. In ‘Blessed is he that considereth the poor’, the right-hand of the organ/piano accompaniment at
the beginning of bars 72 and 118 has a rest when, on analogy with similar occurrences in the Service
in F (and following the recently superseded practice of figured bass accompaniment), it would be
appropriate for a chord (of which the note in the left-hand is the root) to be played. Similar
occurrences can be found in ‘Thy way, O God, is holy’ at bars 1, 5, 9, and 73.
5. Expansions of the text added to the score, for instance that of ‘cres’ to ‘crescendo’ and ‘Orn’ to
Organ’, have been indicated by the use of italic.
Acknowledgements
I would like to thank Dr Paul Gameson, Professor Peter Seymour, and Pofessor Jonathan
Wainwright for their help and advice in the preparation of this edition.
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34
S.
A.
T.
B.
Org.
42
S.
T.
B.
Org.
50
S.
T.
B.
Org.
&
#
in the time, the time of trou ble,- in the time, the
two Trebles
time of trou ble.-
##
&
#
in the time, the time of trou ble,- in the time, the time of trou ble.-
##
&
‹
#
in the time, the time of trou ble,- in the time, the time of trou ble.-
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in the time, the time of trou ble,- in the time, the time of trou ble.-
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&
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&
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The
Solo 1st. Treble
Lord pre serve- him,and keep him a live.- The
2d. Treble
Lord pre serve- him,and keep him a -
&
‹
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?## ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
##
?##
&
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live, the
Duo
Lord pre serve- him, and keep him a live,-
∑
&
‹
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that
soft
he may be
?## ∑ ∑ ∑ ∑
that he may be
&
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soft
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56Verse
Verse
S.
A.
T.
B.
Org.
62
S.
A.
T.
B.
Org.
67
S.
A.
T.
B.
Org.
&
## ∑ ∑
that he may be bless ed- up on-
&
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that he may be bless ed- up on-
&
‹
##
bless ed- up on- earth, that he may be bless ed- up on-
?##
bless ed- up on- earth, that he may be bless ed- up on-
&
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?##
&
##
earth: and de liv- er- not thou him, and de liv- er- not thou him in -
&
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earth:
∑
and de liv- er- not thou him in -
&
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earth:
∑
and de liv- er- not thou him in -
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earth: and de liv- er- not thou him, and de liv- er- not thou him in -
&
##
#
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#
&
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to the will of his en e- mies,- the will of his en e- mies.-
&
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to the will of his en e- mies,- the will of his en e- mies.-
&
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to the will of his en e- mies,- the will of his en e- mies.-
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to- the will of his en e- mies,- the will of his en e- mies.-
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72
S.
Org.
80
S.
T.
B.
Org.
Verse
Verse
88
S.
A.
T.
B.
Org.
&
##
Solo 1st. Treble
The Lord pre serve- him,and keep him a live.-
2nd. Treble
The Lord pre serve- him,and keep him a -
&
##
?##
&
##
live,
∑ ∑ ∑ ∑ ∑ ∑ ∑
&
‹
##
Tenor Solo
The Lord pre serve- him,and keep him a live,-
∑ ∑ ∑
?## ∑ ∑ ∑ ∑
Bass solo
The Lord pre serve- him,and keep him a -
&
## ∑ ∑ ∑
?##
&
##
that he may be bless ed,- bless ed,- bless ed- up on- earth.
#
&
##
that he may be bless ed,- bless ed,- bless ed- up on- earth.
#
&
‹
##
that he may be bless ed,- bless ed,- bless ed- up on- earth.
#
?##
live, that he may be bless ed,- bless ed,- bless ed- up on- earth.
#
&
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#
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95Chorus
Chorus
S.
A.
T.
B.
Org.
101
S.
A.
T.
B.
Org.
106
S.
A.
T.
B.
Org.
&
#
The Lord com fort- him, the Lord com fort- him, when he li eth-
&
#
The Lord com fort- him, the Lord com fort- him, when he li eth-
&
‹
#
The Lord com fort- him, the Lord com fort- him, when he li eth-
?#
The Lord com fort- him, the Lord com fort- him, when he li eth-
&
#
?#
&
#
sick up on- his bed, the Lord com fort- him, the
&
#
sick up on- his bed, the Lord com fort- him, the
&
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#
sick up on- his bed, the Lord com fort- him, the
?#
sick up on- his bed, the Lord com fort- him, the
&
#
?#
&
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Lord com fort- him, when he li eth- sick up on- his
&
#
Lord com fort- him, when he li eth- sick up on- his
&
‹
#
Lord com fort- him, when he li eth- sick up on- his
?#
Lord com fort- him, when he li eth- sick up on his
&
#
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j
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j
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œ
j
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jw œ ™
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j
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j ˙ ˙ œ ™œ
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j
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111
S.
A.
T.
B.
Org.
116
S.
A.
T.
B.
Org.
™™
™™
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1st. time soft 2d. loud
1st. time soft 2d. loud
121
1.
1.
™™
™™
™™
™™
™™
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2.
2.
S.
A.
T.
B.
Org.
&
#
bed: make thou all his bed, make thou all his
&
#
bed: make thou all his bed, his bed, make thou all his
&
‹
#
bed:
∑
make thou all his bed, his
?#
bed:
∑
make thou all his bed, his
&
#
?#∑
&
#
bed in his sick ness,-
∑ ∑ ∑
&
#
bed in his sick ness,-
∑ ∑ ∑
&
‹
#
bed in his sick ness,-make thou all his bed,
?#
bed in his sick ness,-
∑
make thou all
&
#
?#
&
#
make thou all his bed in his sick - ness. ness.
&
#
make thou all his bed in his sick ness.- - ness.
&
‹
#
his bed, his bed in his sick ness.- - ness.
?#
his bed, his bed in his sick ness.- - ness.
&
#
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œ ˙ w
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œ w˙ w
œ
œ
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w
w
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œ w
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7
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Consider and hear me
MATTHEW CAMIDGE (1764–1844)
Edited by David Griffiths
Psalm 13, v. 3
Full
Full
TREBLE
CONTRA
TENOR
TENOR
BASS
ORGAN
or
PIANO
FORTE
5
S.
A.
T.
B.
Org.
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
&b
&b
Con sid- er,- and hear me, O Lord my God,
Verse
2 trebles
con -
Bb &b
Con sid- er,- and hear me, O Lord my God,
Bb&
‹
b
Con sid- er,- and hear me, O Lord my God,
?
b
?
b
Con sid- er,- and hear me, O Lord my God,
&b
&b
?
b
?
b
Soft organ
&b
sid er,- and
hear me, O
q
Lord my God, con sid- er,
n
- and hear
n
me, O
&b ∑ ∑ ∑ ∑ ∑ ∑
&
‹
b ∑ ∑ ∑ ∑ ∑ ∑
?
b∑ ∑ ∑ ∑ ∑ ∑
&b n n
?
b
˙ ˙ ˙ ˙ ˙œ
j
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˙ ˙ ™ œ ˙ œ
j
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˙
˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙Ó
˙ ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙ œ
œ ˙ ˙Ó
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
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Ó
˙
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w
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15
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19
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27
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Lordmy
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God,con sid- er,- and hear me, con -
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con sid- er,- and hear me, con -
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sid er,- and hear me, O Lord my God.
n
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sid er,- and hear me, O Lord my God.
n
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sid er,- and hear me, O Lord my God.
n
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sid er,- and hear me, O Lord my God.
n
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Light
Solo
en- mine eyes, O Lord, light en- mine eyes, O Lord, that I sleep not in death, that I
& #
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sleep not in death, light en- mine eyes, O Lord, that I sleep not, sleep not in death.
b
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49slower
slower
Adagio
Adagio
S.
A.
T.
B.
Org.
&b ∑
Light en- mine eyes, O Lord, mine eyes, O
Q
Lord, that I sleep not in
&b ∑
Light en- mine eyes, O Lord, mine eyes, O Lord, that I sleep not in
&
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Light en- mine eyes, O Lord, mine eyes, mine eyes, O Lord, that I sleep not in
?
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Light en- mine eyes, mine eyes, O Lord, that I sleep not in
&b ∑ q
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death, that I sleep not in death, that I sleep not in death, in death, that I
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death, that I sleep not in death, that I sleep not in death, in death, that I
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death, that I sleep not in death, that I sleep not in death, in death, in death, that I
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death, that I sleep not in death, that I sleep not in death, in death, in death, that I
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sleep not in death, that I sleep not in death, I
piano
sleep not in death.
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MATTHEW CAMIDGE (1764–1844)
Edited by David Griffiths
Lift up your heads
Psalm 24, vv. 7-10
Full
Full
TREBLE
CONTRA
TENOR
TENOR
BASS
ORGAN
or
PIANO
FORTE
7soft
soft
S.
A.
T.
B.
Org.
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
&
#
&
#
Lift up your heads, O ye gates, and be ye lift up, ye
B#
&
#
Lift up your heads, O ye gates, and be ye lift up, ye
B
# &
‹
#
Lift up your heads, O ye gates, and be ye lift up, ye
?# ?#
Lift up your heads, O ye gates, and be ye lift up, ye
&
#
&
#
?# ?#
&
#
ev er- last- ing- doors: and the King of glo
q
ry
q
- shall come
&
#
ev er- last- ing- doors: and the King of glo ry- shall come
&
‹
#
ev er- last- ing- doors: and the King of glo ry- shall come
?#
ev er- last- ing- doors: and the King of glo ry- shall come
&
#
?#
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J
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11
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loud
13
S.
A.
T.
B.
Org.
19
loud
loud
S.
A.
T.
B.
Org.
26
S.
A.
T.
B.
Org.
C
C
C
C
C
C
C
C
C
C
C
C
3
2
3
2
3
2
3
2
3
2
3
2
&
#
in, and the King of glo
q
ry
q
- shall come in.
&
#
in, and the King of glo ry- shall come in.
&
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#
in,
and the King of glo ry- shall come in.
?#
in, and the King of glo ry- shall come in.
&
#
?#
loud
&
#
∑ ∑ ∑ ∑
it is the Lord, it is the
&
#
∑ ∑ ∑ ∑
it is the Lord, it is the
&
‹
#
Who
All the Tenors
is the King of
glo ry:-
∑
it is the Lord,
?#
Who
All the Basses
is the King of glo ry:-
∑
it is the Lord,
&
#
∑ ∑
?#
soft organ
&
#
Lord strong and might y,- ev en- the Lord might y- in bat tle.-
&
#
Lord strong and might y,-ev en- the Lord might y- in bat tle.-
&
‹
#
it is the Lord strong and might y,- ev en- the Lord might y- in bat tle.-
?#
it is the Lord strong and might y,- ev en- the Lord might y- in bat tle.-
&
#
#
?#
wÓ
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wÓ
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12
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33
S.
A.
T.
B.
Org.
37
S.
A.
T.
B.
Org.
soft
soft
41
S.
A.
T.
B.
Org.
3
2
3
2
3
2
3
2
3
2
3
2
&
#
Lift up your heads, O ye gates, and
&
#
Lift up your heads, O ye gates, and
&
‹
#
Lift up your heads, O ye gates, and
?#
Lift up your heads, O ye gates, and
&
#
?#
&
#
be ye lift up, ye ev er- last- ing- doors:
&
#
be ye lift up, yeev er- last- ing- doors:
&
‹
#
be ye lift up, ye ev er- last- ing- doors:
?#
be ye lift up, ye ev er- last- ing- doors:
&
#
?#
&
#
and the King of glo
q
ry
q
- shall come in,
&
#
and the King of glo ry- shall come in,
&
‹
#
and the King of glo ry- shall come in,
?#
and the King of glo ry- shall come in,
&
#
?#
loud
˙ ˙ ˙ wÓ
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46
S.
A.
T.
B.
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51
S.
A.
T.
B.
Org.
56Loud Organ
Loud Organ
S.
A.
T.
B.
Org.
C
C
C
C
C
C
C
C
C
C
C
C
&
#
and
loud
the King of glo
q
ry
q
- shall come in.
&
#
and the King of glo ry- shall come in.
&
‹
#
and the King of glo ry- shall come in.
?#
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&
#
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&
#
∑ ∑ ∑ ∑
ev en- the
&
#
∑ ∑ ∑ ∑
ev en- the
&
‹
#
Who
All the Tenors
is the King ofglo ry:- - - ev en- the
?#
Who
All the Basses
is the King of glo ry:- - - ev en- the
&
#
∑ ∑
?#
soft organ
&
#
Lord of hosts, he is the King, he is the
&
#
Lord of hosts, he is the King, he is the
&
‹
#
Lord of hosts, he is the King, he is the
?#
Lord of hosts, he is the King, he is the
&
#
?#
˙ ˙ ˙ w ˙ ˙ ˙ Ó ˙ w w ™
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w ˙ w ˙ ˙ ˙ Ó˙ ˙ ™
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61
S.
A.
T.
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Org.
66
S.
A.
T.
B.
Org.
71
S.
A.
T.
B.
Org.
&
#
King of glo ry,- - he is the King of
&
#
King of
glo ry,- - he is the King of
&
‹
#
King of glo ry,- - he is the King of
?#
King of glo ry,- - he is the King of
&
#
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&
#
glo ry,- - - he is the King of glo - -
&
#
glo ry,- - - he is the King ofglo - -
&
‹
#
glo ry,- - - he is the King of glo - -
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MATTHEW CAMIDGE (1764–1844)
Edited by David Griffiths
Psalm 28, v. 10
O save thy people
Full
Full
TREBLE
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TENOR
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ORGAN
or
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7
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Teach me, O Lord
MATTHEW CAMIDGE (1764–1844)
Edited by David Griffiths
Psalm 119, vv. 33, 35, 37, 44
1st TREBLE
2nd TREBLE
BASS
ORGAN
or
PIANO
FORTE
6
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S.
Org.
13
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Solo 2d. Treble
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2 Trebles
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Psalm 77, vv. 13-20
MATTHEW CAMIDGE (1764–1844)
Edited by David Griffiths
Thy way, O God, is holy
TREBLE
CONTRA
TENOR
TENOR
BASS
ORGAN
or
PIANO
FORTE
8
A.
T.
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Org.
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C
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Thy way, O God, is ho ly,- thy way, O God, is
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∑ ∑ ∑ ∑
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who is so great a God as our God?
&
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w ˙ œ œ ˙œ ˙ ˙ ˙ w
˙ œ œ ˙ œ œ ˙œ ˙ ˙ ˙# w
˙ œ œ ˙ ˙ ˙˙ w
w
w˙˙
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28
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43
A.
T.
B.
Org.
50
A.
T.
B.
Org.
57
A.
T.
B.
Org.
&bb
Who is so great a God as our God?
∑ ∑
&
‹
bb
Who is so great a God as our God? Thou art the God that
?
bb
Who is so great a God as our God?
∑ ∑
&bb
b
Q
?
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&bb
∑ ∑
Thou art the God that do est- won ders,-
∑
&
‹
bb
do est- won ders,- thou art the God that do est- won ders,-
∑
?
bb ∑ ∑
Thou art the God that do est- won ders,- thou art the
&bb
∑
?
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&bb
∑ ∑ ∑
thou art the God that do est- won ders:- and hast de-
&
‹
bb
∑ ∑ ∑
thou art the God that do est- won ders:- and hast de-
?
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God that do est- won ders,- thou art the God that do est- won ders:- and hast de-
&bb
∑ n
?
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˙ œ œ ˙˙ ˙ ˙ w w
˙ œ œb ˙œ œ ˙ ˙ ˙ ˙ w
˙ œ œ ˙ ˙
˙ œ œ ˙ ˙ ˙
˙
w
w
˙
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œ
œ
œ
œ ˙
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˙
˙˙˙ w
˙ www
˙ œ œ ˙ ˙
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w
w
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œn œ ˙ ˙ œ œ œ œ ˙ ˙
œ œ œ œ œ œ ˙˙n
œ œ
˙˙n œ œb œ œ ˙ ˙#
˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ
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29
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65
A.
T.
B.
Org.
73
Recit.
B.
Org.
79
B.
Org.
84Moderato
B.
Org.
91
B.
Org.
c
c
c
C
C
C
&bb
clar ed,-and hast de clar- ed- thy pow'r, thy pow'r a mong- the peo ple.-
&
‹
bb
clar ed,- andhast
de clar- ed- thy pow'r, thy pow'r a mong- the peo ple.-
?
bb
clar ed,- and hast de clar- ed- thy pow'r, thy pow'r a mong- the peo ple.-
&bb
?
bb
?
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Thou hast might i- ly- de liv- er- ed- thy peo ple:- ev'n the sons of Ja cob- and Jo seph.- The
&bb
b
?
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?
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wa ters- saw thee, O God, the wa ters- saw thee, and were a fraid:- the depths al so- were trou bled.-
&bb
#
?
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¿
?
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The
Solo
clouds pour'd out wa ter,- the air thun dered:-
∑ ∑
&bb
?
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loud Organ
?
bb ∑
and thine ar rows- went a broad,- and thine ar rows- went a -
&bb
?
bb
soft
œ œ ˙˙ œ ™ œ
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30
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¢
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98
B.
Org.
105
B.
Org.
111
B.
Org.
118
B.
Org.
126
B.
Org.
?
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broad, thine ar rows- went a-broad, thine ar rows
Q
- went
Q
a
Q
broad,
Q
-
Q
&bb
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Q
QQ H ™
thine ar rows- went a broad,- thine ar rows- went a broad,- thine
&bb
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loud Organsoft
?
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ar rows- went a broad,-
∑
thine ar
Q
rows
Q
- went
Q
a
Q
broad,
Q
-
&bb
?
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?
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thine ar rows- went a broad.-
∑
The
Q
clouds
n H
pour'd
Q
out wa ter,- the air
&bb
?
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?
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thun dered:-
∑ ∑ ∑
thine ar rows- went a broad,-thine
&bb
#
n
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loud Organ
Ÿ
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31
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133
B.
Org.
141
B.
Org.
147
B.
Org.
155
B.
Org.
162
B.
Org.
?
bb
ar rows- went a broad. Thevoice of thy thun der- was heard round a bout.-
∑ ∑
&bb
Org.
?
bb
loud Organ
?
bb ∑ ∑ ∑ ∑ ∑
The
&bb
?
&
?
bb
soft
?
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voice of thy thun der- was heard round a bout:-
∑ ∑ ∑
and
&bb
?
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Loud Organ soft
?
bb
light nings- shone up on- the ground, up on- the ground, up on- the ground,
&bb
?
bb ∑ ∑
?
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up on- the ground, and light nings- shone up on- the ground, up on- the
&bb
?
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32
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169
B.
Org.
176
B.
Org.
184
B.
Org.
191
B.
Org.
198
B.
Org.
203
B.
Org.
?
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ground, up on
Ÿ
- the ground;
∑ ∑ ∑
&bb Q
q
org.
loud Organ
?
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?
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the earth was mov ed,- and shook with al,- the earth was mov ed,- and shook with -
&bb
soft
b b
?
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?
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al.-
∑ ∑ ∑
The clouds pour'd out wa ter,- the
&bb
n
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loud soft
?
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air thun dered:-
∑ ∑ ∑
and thine ar rows- went a-
&bb
soft
?
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loud Organ
?
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broad, and thine ar rows- went a broad,-
&bb
?
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thine ar rows,- thine ar rows,- thine ar rows- went a broad.-
&bb
n
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œ
œ œ œ œ ˙ ™
˙ ™
œœ œb
˙ œœ
œœ
Œ œœ
˙ œ
Œ
œ œœ ˙ Ó
œ œ œ œ œ œ œ œ
œb œ œ œ œb œœœœb
œn œ
œœbœœ
œ œ
œœœœ œ
w
œ œ œ œ
w
w
33
°
¢
{
°
¢
{
°
¢
{
{
°
¢
{
209
B.
Org.
215
B.
Org.
221
B.
Org.
226
Org.
232
A.
B.
Org.
3
2
3
2
3
2
3
2
3
2
3
2
?
bb
The voice of thy thun der- was heard round a bout:- and the
&bb
Organ
?
bb
loud
?
bb
light nings- shone up on- the ground; the earth was mov ed,- and shook
Ÿ
with -
&bb
soft
b
?
bb
?
bb
al.
∑ ∑ ∑ ∑
&bb
?
bb
loud Organ
&bb
Ÿ
bb
b
?
bb
Ÿ
bb
b
&bb
b ∑ ∑ ∑ ∑
Thy way is
?
bb
b
Thy
p
way is in the sea, and thy paths in the great wa ters;-
∑
&bb
b
?
bb
b
p
œ œ œ œ œ œb œ œ ˙ Œ
œ ˙ œ œ œ ˙ œ˙
œ ™ œ
J
˙ œ œ
œ
J ‰ Œ Ó
œ œ œ œ
œœœ œb œ œ ˙
Œ œ˙˙
œœ
œœ œ
˙˙
œœœ
˙
˙
œ
œ ™™ œ
œ
J
˙˙ œ
˙
œ
w
wœ
œœœœ Œ œ
œ œ œ œœ œ œ œ
œ œ œ œœ œ œ œ
œ œ œ œœ œ œ œ œ œ œ œ œ œ œ
œ
œœ
œ˙ œ œ ˙
Œ
œ ˙ ˙b œb ˙œ ˙ ™ œ
œ
˙ œœ
œ˙˙ œ
œ œœ
˙˙ Œ œ
˙
˙˙
˙˙˙˙b œ
˙ ™
˙œœ
œ
˙
U
˙ œ œ
˙
˙
˙
˙‰
œ
jœ
œœ
Œ ˙˙
˙ ™ œ ˙U
˙
˙
Ó
˙
Ó
‰
œ
j
œ œ œœ œ œ œ
œ œ œ œœ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙‰
œ
j
œ œ œœ œ œ œ
œ œ œ œœ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œn œ œ œ œb œ œ œ œ œ œ œœ œ œ œ
œ œ œ œœ œ œ œ œ œ œ œ
œ ˙ ™ œ
˙
Ó
œ œn œ œ œ œb œ œ œ œ œ œ œœ œ œ œ
œ œ œ œœ œ œ œ œ œ œ œ
œ ˙ ™ œ
˙
˙Ó
Ó ∑
˙w œ ˙
˙ w ˙ w œ ˙ w œ œ œ ˙ ™ œ
œ œ ˙ ˙Ó
˙ w˙ ˙
˙˙
ww
œ ˙˙ w
˙ Ó
œ˙
œ œ ˙ ™ œœœ
œœ
˙˙
˙˙
˙w˙ ˙
œ ˙˙
Ó ˙ ˙ ˙ w ˙ ˙
Ó
˙ w˙
wÓ
˙ ˙n ˙
34
°
¢
{
°
¢
{
°
¢
{
239
A.
T.
B.
Org.
246
A.
T.
B.
Org.
253
A.
T.
B.
Org.
&bb
b
in the sea, and thy paths in the great wa ters;- thy way is in the
&
‹
bb
b ∑ ∑ ∑
Thy way, thy way is in the
?
bb
b∑ ∑ ∑ ∑
thy way is in the
&bb
b n q n
?
bb
b
&bb
b
sea,
∑
thy paths in the great wa ters;- thy way is in the sea, and thy
&
‹
bb
b
sea, and thy paths in the great wa ters,- and thy paths in the great wa ters;- thy way is in the sea, and thy
?
bb
b
sea, and thy paths in the great wa ters,- in the great wa ters;- thy way is in the sea, and thy
&bb
b n n n
?
bb
b
&bb
b
paths in the great wa ters:-
∑
thy foot steps- are not known, thy foot steps,-
&
‹
bb
b
paths in the great wa ters:-
∑
thy foot steps- are not known, thy foot steps,-
?
bb
b
paths in the great wa ters:- thy foot steps- are not known, thy foot steps- are not known, thy foot steps,-
&bb
b n n
?
bb
b
w œ ˙ w œ œ ˙ ™ œ œœ ˙
˙
Ó Ó Ó
˙ w ˙ ˙ w
∑ ˙w
˙n w ˙ ˙ ˙ ˙n
Ó Ó˙
˙ ™ œ œ œ ˙ w
ww
œ ˙˙ w
wœ˙
œ ˙ ™œœ œ
œ
œœ
˙
˙
˙
˙
˙
∑
w ˙
˙ww
˙˙ ˙ w
˙n
˙
˙
˙ w ˙ ˙˙ ˙
˙
˙ Ó ∑˙
˙ œ œ œ œ ˙
w
w
Ó Ó Ó
˙
˙ ™œ œ œ ˙ ˙
˙
˙ ™ œœ œ w œ œ
wœ œ ˙ ™
œ œ œ ˙ ˙œ œ ˙ ™ œ œ œ ˙ ˙n
˙˙ ™ œ œ œ wn œ œ
wÓ ∑
œ œ ˙ ™ œ œ œ ˙ œ œ œ œn ˙ ˙˙
˙ ™ œ
œ œw œ œ
w
w
œ œ ˙ ™œ œ
œ œœ ˙ ˙ ˙
œ œ
˙ ™
w
œ œœ œ
œ˙˙ ˙
˙
˙
˙ ˙ ™ œœœ
œœ
w
wœœ
œœ
wÓ Ó Ó
˙
˙
˙
˙
™
™ œ œ œ
˙
˙
™
™ œ œ œn ˙
˙
˙
w
w
˙
w
w
˙
˙ ™ œœ œ
˙˙
Ó Ó Ó
˙ ˙ œ œ œ œ w ˙˙
˙
Ó
˙ ™ œ œn œ ˙ ˙ Ó Ó Ó˙ ˙ ˙
œ œ wn ˙ ˙˙
Ó
˙ ˙ œ œ
˙ ˙ ˙˙ œ œ œ œ w
˙ ˙ ˙ œ œ w ˙˙
˙ Ó
˙ ™˙ ™œœ
œ
˙
œ˙˙ ˙
˙˙
˙ œ œ œ œ w ˙
˙
˙
w
œ˙
œ œÓœ w
w
˙
˙˙˙
˙
˙˙
˙n
˙ ˙
˙w ˙
˙
˙ œ œ œ œ w
w
˙ ˙
w
w
˙w
˙
˙
35
°
¢
{
°
¢
{
°
¢
{
260
A.
T.
B.
Org.
267
A.
T.
B.
Org.
274
A.
T.
B.
Org.
&bb
b
thy foot steps- are not known,
∑ ∑ ∑
thy
&
‹
bb
b
thy foot steps- are not known,
∑ ∑ ∑
thy
?
bb
b
thy foot steps- are not known,
∑ ∑ ∑
thy
&bb
b
Swell
?
bb
b
&bb
b
foot steps- are not known,
∑ ∑
and thy paths in the great wa ters:-
&
‹
bb
b
foot steps- are not known. Thy way is in the sea, and thy paths in the great wa ters:-
?
bb
b
foot steps- are not known. Thy way is in the sea, and thy paths in the great wa ters:-
&bb
b
?
bb
b
&bb
b ∑ ∑
thy foot steps- are not known, not known, thy
&
‹
bb
b ∑
and thy foot steps- are not known, thy foot steps- are not known, thy
?
bb
b∑ ∑
thy foot steps- are not known, not known, thy
&bb
b
?
bb
b
Ó Ó
˙ œ œ ˙n ˙w
Ó Ó Ó
˙
Ó Ó˙ œ œ ˙ ˙
wÓ Ó Ó ˙n
Ó Ó ˙ œ œ ˙ ˙w
wÓ Ó Ó
˙
˙
˙˙
˙
˙
œœ œ
œ
˙˙n
˙
˙
w
w
n
˙˙ œ
œ œœ ˙
˙n˙˙ w
wn˙
˙ œ
œ
œ
œ
˙
˙n
˙
˙
w
wn˙˙
˙˙
˙ œ œ ˙ ˙w
Ó
w ™œ#
j
w ™ w ™œ#
j
w ˙
œ œ ˙ ™ œ wÓ Ó Ó
œ œ˙ ™ œ œ œ ˙
˙
Ó
œ œ˙ ™ œ w
˙ ˙ ˙ ˙˙ ˙ ˙ w
œ œ ˙ ™ œœ œ ˙
˙Ó
œ œ ˙ ™ œw
˙ ˙ ˙ ˙˙ ˙ ˙ w œ
œ
˙ ™ œ
œ œ ˙ ˙ Ó
œœ
œœ
˙ ™˙ ™ œ
œww
˙˙
˙˙ ˙
˙˙˙
˙˙ ˙
˙ ˙˙ w
wœœ
œœ
˙
˙ ™™ œ
œ
œ
œ
œ
œ
˙
˙˙
˙ ˙
˙ ˙
˙w
w Ó w ™ w ˙
w
Ó
˙
˙ ˙ ˙
˙
Ó
Ó Ó˙ ˙ ˙ œ œ w ˙ w ˙
Ó Óœ œ ˙ œ œ œ œ ˙
œ œ œ œ ˙
œ œ œ œ ˙ Ó ˙
Ó Ó
˙
˙ ˙ œ œ w ˙˙
˙˙
˙
˙
™™
œ
œ œ
˙
œ ˙
˙˙
˙
œ
˙
œ ˙˙
œ
˙
œ ˙œ œ
˙
˙
˙œ œ
œ
œ
œ
œ
w
˙
œ œ˙
œ œ
w
w
˙
˙
˙
˙ ˙n ˙
˙
˙˙
˙˙
w ˙ w ˙˙
˙˙
36
°
¢
{
°
¢
{
°
¢
{
280
A.
T.
B.
Org.
286
A.
T.
B.
Org.
294
S.
A.
T.
B.
Org.
C
C
C
C
C
C
C
C
C
C
C
&bb
b
foot steps- are not known,
∑
thy foot steps- are not known, thy
&
‹
bb
b
foot steps- are not known, thy foot steps- are not known,
∑
thy
?
bb
b
foot steps- are not known, thy foot steps- are not known,
∑
thy
&bb
b
?
bb
b
&bb
b
foot steps,- thy foot steps
ã
- are not known.
∑ ∑ ∑ ∑ bb
&
‹
bb
b
foot steps,- thy foot steps
ã
- are not known.
∑ ∑ ∑ ∑ bb
?
bb
b
foot steps,- thy foot steps
ã
- are not known.
∑ ∑ ∑ ∑bb
&bb
b
Ÿ
n bb
?
bb
b
sym.
bb
&bb
CHORUS
∑ ∑ ∑
by the hand of Mos es- and
&bb
Thou led dest- thy peo ple- like sheep: by the hand of Mos es- and
&
‹
bb
Thou led dest- thy peo ple- like sheep: by the hand of Mos es- and
?
bb
Thou led dest- thy peo ple- like sheep: by the hand of Mos es- and
&bb
∑
?
bb
Full
œœ ˙ ˙ w
Ó Ó Ó
˙ œ œ œ œ œ œ œ w˙
œ œ ˙ ˙ w˙ ˙
˙ œ œ ˙wÓ Ó Ó
˙
œ œ ˙
˙w
˙ œ œ œœ œ œ w
Ó Ó Ó ˙
œœ
œ
œ
˙
˙
˙
˙
w
w˙ ˙
˙˙
œ
œ
œ
œ ˙
˙
w
w ˙˙
œœ
œ œœ
œ
œ
œœœ
œ
œ
ww ˙
˙
˙ ˙
˙w
˙ œ œ œœ œ œ w
˙ ˙˙
˙
w
˙
˙b ˙ ˙ ˙˙
Ó
˙ w w
Ó
˙ ˙ ˙ ˙˙
Ó˙ ˙ ™
œœ œ wÓ
˙ ˙ ˙˙ ˙
Ó
˙
ww Ó
˙˙b ˙
˙ ˙˙ ˙
˙
˙˙˙˙
Ó˙
˙ w
w w
w˙
˙
˙
œ ™œœœ ˙ ™˙
˙n
œ ˙
˙
œ
˙
œ œ ˙˙ ˙
˙
œ œ ww
w
w
˙˙
˙
Ó˙ w
w
w ˙ w ˙ ˙n˙
˙˙ ˙
˙w
Ó Ó
œ œ˙ ˙ ˙ œ œ
˙˙ œ œ
˙ œ œw
Óœ œ ˙
˙ ˙ œ œ
˙˙ œ œ
˙ œ œw
Ó œ œ ˙ œœ ˙ œ
œ
˙˙ œ œ
˙
œ œw
Ó
œ œ ˙ ˙˙
œ œ
Ó
˙ œ œw
Ó
œœœ
œœœ
˙˙˙ ˙
˙˙
˙
˙
œœœ
œœ
˙
˙
˙
˙
œ
œ
œ
œ
˙ œ œ
w
wÓ
˙˙
˙˙ ˙
37
°
¢
{°
¢
{
°
¢
{
301
S.
A.
T.
B.
Org.
308
S.
A.
T.
B.
Org.
315
S.
A.
T.
B.
Org.
&bb
Aa ron,- thou led dest- thy peo ple- like sheep: by the hand of
&bb
Aa ron,- thou led dest- thy peo ple- like sheep: by the hand of
&
‹
bb
Aa ron,- thou led dest- thy peo ple- like sheep: by the hand of
?
bb
Aa ron,- thou led dest- thy peo ple- like sheep: by the hand of
&bb
?
bb
&bb
Mos es- and Aa ron,- thou led dest- thy peo ple- like sheep, thou
&bb
Mos es- and Aa ron,- thou led dest- thy peo ple-
likesheep, thou
&
‹
bb
Mos es- and Aa - ron, thou led dest- thy peo ple- like sheep, thou
?
bb
Mos es- and Aa ron,- thou led dest- thy peo ple- like sheep, thou
&bb
?
bb
&bb
led dest- thy peo ple- like sheep:
∑ ∑ ∑
&bb
led dest- thy peo ple- like sheep: by the hand of Mo ses- and Aa -
&
‹
bb
led dest- thy peo ple- like sheep: by the hand of Mo ses- and Aa -
?
bb
led dest- thy peo ple- like sheep: by the hand of Mo ses- and Aa -
&bb
n
?
bb
w ˙ ˙˙ œ œ
˙ œ œ wÓ œ œ ˙ ˙
w ˙
Ó Ó˙ ˙ œ
œ ˙ œ œ ˙ œ œ ˙ ˙
w ˙Ó Ó ˙
˙œ œ ˙
œœ ˙ œ œ ˙ ˙
w
˙
˙Ó Ó ˙
˙ œ œ˙ œ œ ˙
œ œ˙ ˙
www
˙˙˙ ˙
˙ œ
˙
œ
˙˙
œœ œ
œ
˙˙˙
œ œ ˙ œœœ
œœœ
˙˙˙
˙˙˙
w
˙
Ó Ó ˙˙ œ œ
˙ œ œ ˙˙
˙ ˙
˙ œ œ w ˙ ˙ œ œ ˙ ˙ ˙ ˙ ™ œ œ ˙˙
˙ œ œ ˙ ™ œ ˙ œ œ œ œ œ œ ˙œ
œ˙ ˙ ˙ ˙
˙ œ œ ˙ ˙ ˙˙
œ œ˙ ˙
˙w ˙
œ œ
˙
œ œ w
˙ œ œ œ œ œ œ ˙˙
w
˙
œ œ
˙˙˙ œ
œœ
œœ w
˙ ™˙œ
˙
˙
˙
œ œ
œœ
œœ
˙œ œ
˙
˙
˙˙
˙ ™˙ ˙œ œ
˙˙
˙
˙
œ œ
˙
˙ ˙
˙˙ œ œ œ œ œ œ ˙
˙˙
˙˙
œ œ
œ œ ˙ ˙ ˙
˙ ˙ ˙Ó
œ œ˙
˙ œ œ ˙ ˙n ˙ œ œ ˙ ˙ ˙ œ œ w
œ œ œ œ ˙œ œ w ˙ œ œ
˙ ˙ ˙ œ œ ˙ ˙
œ œ œ œ ˙œ œ ˙
˙˙
œ œ œ œ œ œ œ œ œœ œ œ œ
œ
œœ
œœ
˙œ œ
˙
˙
˙œ œ
˙˙ ˙
˙ ˙
˙
œ
˙
œ ˙
w˙˙
w˙ œ
˙œ w
˙
œ œ œ œ ˙œ œ ˙
˙˙
œ œ
œ œ œ œ œ œ œœ œ œ œ
œ
38
°
¢
{°
¢
{°
¢
{
322
S.
A.
T.
B.
Org.
329
S.
A.
T.
B.
Org.
336
Adagio
Adagio
S.
A.
T.
B.
Org.
&bb
∑ ∑ ∑ ∑
by
trebles [1 and 2]
the
b
hand of Mo ses- and
&bb
ron, by the hand of Mo ses- and Aa ron,- by the hand of Mo ses- and
&
‹
bb
ron, by the hand of Mo ses- and Aa ron,- by the hand of Mo ses- and
?
bb
ron,- by the hand of Mo ses- and Aa ron,- by the hand of Mo ses- and
&bb
?
bb
&bb
Aa ron,- by the
b
hand of Mo ses- and Aa ron,- by the hand of
&bb
Aa ron,- by thehand of Mo ses- and Aa ron,- - by the hand of
&
‹
bb
Aa ron,- by the hand of Mo ses- and Aa ron,- by the hand of
?
bb
Aa ron,- by the hand of Mo ses- and Aa ron,- - by the hand of
&bb
?
bb
&bb
Mo ses- and Aa ron,- by the hand of Mo ses
ã
- and Aa ron.- -
&bb
Mo ses-and Aa ron,- by the hand of Mo ses
ã
- and Aa
¿
ron.- -
&
‹
bb
Mo ses- and Aa ron,- by the hand of Mo ses
ã
- and Aa
¿
ron.- -
?
bb
Mo ses- and Aa ron,- by the hand of Mo ses
ã
- and Aa
¿
ron.- -
&bb
ã
Q
?
bb
ã
Ó
Óœœ œœ
˙
œ œn˙˙ ˙
œ
œœ œ œ
œ
œ
˙ œ œ ˙ ˙ ˙ œ œ w ˙
œ œ œ œ˙
˙ œ œ
œ œ œ œ ˙ ˙ ˙ œ œ ˙ ˙ ˙œ œ ˙
˙ ˙ œ œ
œ œ œ œ ˙ ˙ ˙ œ œ ˙ ˙
˙ œ œ
˙ ˙˙
œ œ
œ œœ˙
œ ˙ ˙˙
˙˙
œœ
œœ w
˙ ˙
œ˙˙
œœœb
˙
œœ
œœn
˙˙˙
˙˙
œ œœ
œ œ œœœ
œ
œ œ œ œ
˙ ˙ ˙ ˙ ˙ ˙ ˙˙˙
˙
˙
w
w
w
w
˙
˙
˙œ œ
˙
˙
œœ œœ
˙
œ œn˙˙ ˙
œ
œœ œ œ
œ
œ
˙ ™˙ ˙œ œ ˙
˙ œœ œœ ˙ œ œ
w ˙
œ œ œ œ˙
˙ œ œ
w ˙ œ œ# ˙ ˙
˙˙
˙
œ œ ˙
˙ ˙ œ œ ˙
˙ ˙ œ œ ˙˙
w
˙ œ œ
˙ ˙˙
œ œ
w
˙œ œ ˙ ˙n
˙
˙
˙ ˙
˙œ œ ˙
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39
41
TEXTUAL COMMENTARY
The names of notes are given in Helmholtz’s notation, i.e., the pitch Middle C is
represented by c' and the two octaves either side are indicated as follows: C-B, c-b, c'-b' and
c''-b''. Page Bar Part Comment
Blessed is that considereth the poor
2 18 A, T 1st notes, the appoggiaturas are editorial, on analogy with those in the
Organ or Piano Forte part
2 23 A 1st note, the appoggiatura is editorial, on analogy with that in the
Organ or Piano Forte part
3 37 Org right-hand, lower note semibreve d'
3 46 S the number ‘2’ is absent
4 56-57 B 1st notes, the appoggiaturas are editorial, on analogy with those in the
Organ or Piano Forte part
7 120-1 T, B in the repeat, it may be preferable for the Tenor and Bass to sing the
words ‘make thou all’ along with the Soprano and Alto
Lift up your heads
12 22 Org left-hand chord notated as a semibreve
14 51 T, B the instruction ‘All the Tenors’ and ‘All the Basses’ has been added
on analogy with that in bar 19
14 60 T rhythm of 2nd
and 3rd
notes: dotted crotchet, quaver
15 61 B 1st note, it is possible that this should be d, as in the left-hand of the
Organ or Piano Forte accompaniment
15 71 S note g' incorrectly notated as a minim
Teach me, O Lord
19 16 Org left-hand, initial chord the b and the g sharp are notated as minims
19 17 S 1 crotchet appoggiatura; made into quaver on analogy with those in S 2
and the Organ or Piano Forte part
19-20 19-20 S 1-2 quaver appoggiaturas in both bars and in both parts; made into
crotchets on analogy with the Organ or Piano Forte part (and also for
the second occurrence, bar 20, with bars 4 and 12)
24 143 Org left-hand, the bottom note of the chord notated as a semibreve
24 151 Org left-hand, notated as a semibreve
25 174 S 1-2 1st note in both parts are minims, followed by minim rests
Thy way, O God, is holy
27 7 T 1st note transcribed as written, when perhaps it should be d', as in the
Organ or Piano Forte part
30 88 B 2nd
note minim
PTO
42
Page Bar Part Comment
Thy way, O God, is holy (continued)
31 110 Org left-hand, B flat (upper of the two notes) crotchet
31 126 B 2nd
note minim
33 176 Org left-hand, 2nd
note minim
37 283 Org right-hand, crotchet appoggiatura
39 342/3 ATB the ties are editorial
