The Psalm Project: Teach us to Pray Tour, 2012

The latest from The Psalm Project, which will be performing at Redeemer University College during their North American tour in January:

Brother Down sings the psalms

An acquaintance has linked me to two excellent psalm renditions performed by an American band called Brother Down: Psalm 13 and Psalm 75. Yes, these are the Genevan tunes! Here is more from Douglas Wilson: Psalm Off Results. "Canon Press is now negotiating with the band Brother Down in Santa Cruz in hopes of releasing an album of Reformation-era psalms, all done in their distinctive style." It seems we have something to look forward to.

Update: Psalm 122, the halfway point

I have now posted my versification of Psalm 122 and arrangement of its melody. The opening verse is familiar: "I was glad when they said to me, let us go to the house of the LORD." Psalms 120 through 134 are known as the Songs of Ascent, which may have been sung by pilgrims on their way to the Jerusalem temple. Because God had chosen the temple as the most important place to meet his people, the pilgrims are understandably concerned for its continued welfare, as well as for the flourishing of the city as a whole. After all, their own relationship with God depends on it.

Psalm 122 is often used in christian liturgies to open a worship service. The Genevan tune is in the ionian mode, which is identical to our major scale. The metrical pattern is the highly unusual 8888 88 9898. I have largely maintained the traditional rhyming scheme of abba cc deed, with variation in line 7 to fit better the melody line.

With this I have now posted 75 psalms on this website, which is half the total number of the Psalms. It has taken me approximately 25 years to make it this far.

Update to update: I've redone the first stanza to this psalm. This project is, of course, very much a work in progress.

Update: Psalm 127

I have now posted my versification for Psalm 127, along with my harmonization of the Genevan tune. The metrical text follows:

Unless the living LORD shall build,
the builders' aims go unfulfilled.
Unless the LORD himself defend,
on sentries we cannot depend.
In vain you early wake to rise;
in vain you close your weary eyes.

Though you may toil to earn your bread,
you'll soundly sleep upon your bed.
Sons are a blessing from the LORD,
the fruitful womb a great reward.
Like arrows in a warrior's hand
are strapping youths who by you stand.

Happy and blessèd are the ones
who find their quiver full of sons:
they will not suffer injury
when challenged by an enemy. [sung to last four lines of music]

Psalm 127 is a much loved psalm, whose opening verse is memorable in the King James Version familiar still to my generation: "Except the LORD build the house, they labour in vain that build it: except the LORD keep the city, the watchman waketh but in vain." This psalm strikes out at the false pride of the "self-made man," who imagines himself to be utterly independent of others, including the Almighty. It is a reminder that those who undertake great endeavours do so only by the grace of God, to whom they owe their very existence.

This psalm anticipates at least one of the themes taken up in the next psalm, numbered 128: the fruitful womb is a blessing from the LORD. It is easy to get sentimental about children, but this psalm makes a very practical point about their value. The NIV 2011 renders verse 3 in gender-inclusive fashion: "Children are a heritage from the LORD, offspring a reward from him." True enough, but it misses the point of the psalm, which I have attempted to communicate with my own metrical versification. The New Oxford Annotated Bible footnote has it right: "The gift of many stalwart sons makes a father feel secure." Even the NRSV gets it right this time. Ain't nobody gonna mess with a man and his sons.

The tune has a metrical structure of 88 88 88 — surprisingly regular for one of the Genevan melodies. It is in the hypo-mixolydian mode and has a rhyming scheme of aabbcc, a departure from the traditional rhyming scheme of abbacc. The occasion for my writing this was a short holiday last weekend at the shores of Lake Huron.

Lobwasser's psalms for lute

My video pages are in desperate need of updating, but until I have the opportunity to do this, here is a version of Psalm 5 beautifully performed by Christoph Dalitz. The words are the versification of Ambrosius Lobwasser.

Chanting the psalms, daily prayer

An acquaintance recently called to my attention two paragraphs from the Second Helvetic Confession, one of the confessional standards of the Swiss and Hungarian Reformed Churches, as well as of the Presbyterian Church (USA):

CHAPTER XXIII
Of the Prayers of the Church, of Singing, and of Canonical Hours


SINGING. Likewise moderation is to be exercised where singing is used in a meeting for worship. That song which they call the Gregorian Chant has many foolish things in it; hence it is rightly rejected by many of our churches. If there are churches which have a true and proper sermon but no singing, they ought not to be condemned. For all churches do not have the advantage of singing. And it is well known from testimonies of antiquity that the custom of singing is very old in the Eastern Churches whereas it was late when it was at length accepted in the West.

CANONICAL HOURS. Antiquity knew nothing of canonical hours, that is, prayers arranged for certain hours of the day, and sung or recited by the Papists, as can be proved from their breviaries and by many arguments. But they also have not a few absurdities, of which I say nothing else; accordingly they are rightly omitted by churches which substitute in their place things that are beneficial for the whole Church of God.

There are a number of things erroneously rejected by many of the Reformers, whose knowledge of antiquity was not always accurate, including the sursum corda in the Lord's Supper and the sign of the cross. In this case the authors of the Confession appear to have been unaware that chanting the Psalms in the course of daily prayer has ancient roots in the church, extending back into biblical times. See, for example, Psalm 119:164: "Seven times a day I praise you for your righteous ordinances." Also Daniel 6:10: "[Daniel] got down upon his knees three times a day and prayed and gave thanks before his God. . . ." And Acts 10:9: "Peter went up on the housetop to pray, about the sixth hour." Following scripture, the Rule of St. Benedict prescribed (or, perhaps better, codified) seven daily prayer offices for use in the monasteries:

As the Prophet saith: "Seven times a day I have given praise to Thee" (Ps 118[119]:164), this sacred sevenfold number will be fulfilled by us in this wise if we perform the duties of our service at the time of Lauds, Prime, Tierce, Sext, None, Vespers, and Complin; because it was of these day hours that he hath said: "Seven times a day I have given praise to Thee" (Ps 118[119]:164). For the same Prophet saith of the night watches: "At midnight I arose to confess to Thee" (Ps 118[119]:62). At these times, therefore, let us offer praise to our Creator "for the judgments of His justice;" namely, at Lauds, Prime, Tierce, Sext, None, Vespers, and Complin; and let us rise at night to praise Him (cf Ps 118[119]:164, 62).

Although St. Benedict intended these daily prayer offices for monastic communities, it seems evident that they were much more widespread in the early church. The Muslim practice of praying five times daily, which many westerners regard as strange, obviously has roots in earlier Jewish and Christian usage.

The Reformers recovered so many ancient things lost to the mediaeval church, especially the doctrines of grace. Yet, given what we know now of the ancient church and its liturgical practices, it is difficult not to conclude that in some instances they were too quick to discard usages that ought to have been retained.

Update: Psalm 38

I have just posted my versification for Psalm 38, along with my arrangement of the tune. This psalm is scarcely less dark than Psalm 88, which I set to verse the weekend after the Japanese earthquake and tsunami in March. It is definitely a psalm of lament, the kind we tend not to sing in our churches these days.

My iniquities flood o'er me,
and before me
all my sins are a burden.
My wounds fester without healing,
I am reeling
from my mad and foolish ways.

I am bowed low in my grieving,
scarce believing
that I'll cease from my mourning.
For my loins are racked with burning
from your spurning;
there's no soundness in my flesh.

The author of the psalm appears to be conflicted, sounding different, and not entirely consistent, themes throughout. On the one hand, he recognizes and confesses his own sin and its role in his current state of suffering. Yet he also believes he has been unjustly abandoned by his friends, who fear to suffer his fate along with him:

Foes oppose me without reason
in their treason,
they are many and mighty.
Those who answer good with evil
cause upheaval;
enemies are they of right.

This psalm, which is ascribed to David in the Hebrew, could relate to episodes in the great Hebrew ruler's life when he was fleeing from enemies plotting his demise, including his wayward sons whom he proved unable to control. A not altogether able administrator, David was undoubtedly painfully aware of his own shortcomings in the unfolding of these episodes, while nevertheless protesting against his betrayers.

On the other hand, a christological interpretation might see this psalm expressing the words of Christ, who, while not sinful himself, bore the sins of the world in his own suffering on the cross.

A word about the tune, which has a metrical structure unusual even for the Genevan psalms: 847 847. The rhyming scheme is aab ccd, with the short four-syllable lines rhyming with the previous eight-syllable line. The traditional rhyming scheme has rhymed lines 3 and 6, despite their having feminine and masculine endings respectively. Consequently, I have abandoned any effort to rhyme these lines in my own versification, which I believe makes the psalm more singable.

This psalm of lament ends, if not on an upbeat note, at least on a note of expectation of future redemption:

LORD above, do not forsake me,
rather make me
to be near you for ever.
Hurry to become my saviour;
show your favour
to me, my redeeming LORD.

Earliest English edition of Genevan Psalms?

My Brazilian alter-ego, Lucas Freire, has alerted me to the following volume available via Google Books: All the French Psalm Tunes with English Words, a collection of Psalms accorded to the verses and tunes used in the reformed Churches of France and Germany (London: T. Harper, 1632). This is the first I have heard of this version, which places an English translation of the Genevan Psalms earlier than I had previously assumed.



As was typical of the early metrical psalters, the language, while rhymed, is not particular poetic and is rather woodenly literal. Psalm 150 runs as follows:

Let vs all Gods praise expres,
Praise him in his holines.
Praise him in the firmament
Of his povver [power] permanent,
And his high magnificency.
Praise him in his greatnes shevved [showed?],
In his goodnes multitude,
VVitnessing his excellency.

Praise him, ioyning vvith the noyse
Both of Trumpets and Hautboyse[1],
Praise him in the Psaltery,
And the Harps svveet harmony.
Laud the Lord with praise abounding,
Timbrel, Taber[2], Fife and Flute,
Organ, Sagbut[3], Cornamute[4],
Laud the Lord, his praise resounding.

Praise to him for his goodnes,
Let the cymbals loud expres
Viall[5], Virginall[6] and lute,
Let not string nor breath be mute,
Him to praise let all indeuer [endeavour].
All his works, aboue, beneath,
VVhat so ere doth moue or breath,
Praise the Lord most blessed euer.

Note: Here is a key to some of the less familiar musical instruments referenced above:

1. Hautboyse = hautbois, or oboe
2. Taber = tabor
3. Sagbut = sackbut
4. Cornamute = cornamuse
5. Viall = viol
6. Virginall = virginal

Singing the Psalms at Redeemer and Princeton

This is to let everyone know that my two presentations on the Psalms took place earlier this month. The first took place at Redeemer University College on tuesday, 5 April, as I announced late last year. Around 20-25 people attended, some of whom I know, including a former student of mine. I brought along a classical guitar and played my own arrangements of some of the Genevan tunes before the formal part of the talk began. The presentation and discussion lasted around two hours in total with a break in the middle.

Then a week ago I was at Princeton Theological Seminary for the annual Kuyper Center conference titled, "Calvinism and Culture." The keynote speaker and recipient of the Kuyper Prize was Marilynne Robinson, author of Gilead, Home and The Death of Adam. There I presented sections of a paper titled, "Singing the Psalms in the 21st Century: An historical survey and update (or why Abraham Kuyper was wrong about the Genevan tunes)." I hope it will be published in some form in The Kuyper Center Review.

I will here indicate that I am available to present publicly my work on the Psalms elsewhere, for example in churches or educational institutions. If you are interested, please contact me at dkoyzis[at]redeemer[dot]ca.

Phos Hilaron

I have recently posted my freshly composed versification of the ancient Greek hymn, the Phos Hilaron (Φῶς Ἱλαρόν), which is the most ancient Christian hymn outside the Bible itself, dating back at least to the 3rd century AD, if not earlier. It is an evening hymn most appropriately sung at the beginning of vespers in the Liturgy of the Hours. It is first recorded in the Apostolic Constitutions in the 4th century. St. Basil the Great spoke of it as an ancient hymn already in that same century. For the tune I have taken that for Genevan Psalm 77/86 and somewhat extended it to fit the length of the single stanza. The tune is in the hypodorian mode. I may still come up with my own tune at some point.

Praying the Psalms in community

I recently found this wonderful quote from St. John Chrysostom through one of my current students:

If we keep vigil in church, David [the author of the psalms] comes first, last and central. If early in the morning we want songs and hymns, first, last and central is David again. If we are occupied with the funeral solemnities of those who have fallen asleep, or if virgins sit at home and spin, David is first, last and central. O amazing wonder! Many who have made little progress in literature know the Psalter by heart. Nor is it only in cities and churches that David is famous; in the village market, in the desert, and in uninhabitable land, he excites the praise of God. In monasteries, among those holy choirs of angelic armies, David is first, last and central. In the convents of virgins, where are the communities of those who imitate Mary; in the deserts where there are men crucified to the world, who live their life in heaven with God, David is first, last and central. All other men at night are overcome by sleep. David alone is active, and gathering the servants of God into seraphic bands, he turns earth into heaven, and converts men into angels.

Coincidentally, I have been reading The Rule of St. Benedict, which in some fashion governs the monastic communities in the Benedictine tradition. I am struck by how much my own practice of prayer for the last more than three decades has been shaped by Benedictine spirituality, and especially the place of the Psalms within it. The basic patterns of the Liturgy of the Hours were at least codified, if not created, by St. Benedict in the 6th century. Among other things, Benedict prescribed that all 150 Psalms were to be sung each week. After having set forth the pattern of sung psalms through the successive prayer hours during the night and day, he offers this:

We particularly admonish that if this distribution of the psalms is displeasing to anyone, he should make any other disposition he may think better. Let him take care, however, above all that each week the entire Psalter of one hundred fifty psalms be recited and be always begun anew at the Night Office on Sunday. For those monks show an exceedingly slothful service in their devotion who, within the course of a week, sing less than the entire Psalter with the usual canticles, since we read that our holy Fathers resolutely performed in a single day what we tepid monks but hope to achieve in an entire week.

For those of us who are even more tepid than St. Benedict and his followers, some are content to sing through the Psalms every 30 days, as prescribed in the Book of Common Prayer, or at an even slower pace. Inspired by these readings, this past weekend I versified and arranged another psalm, this time Psalm 133, which extols the joys of living in community:

Behold, how right and good it is whenever
brethren have dwelt harmoniously together!
It is like precious oils that flow
upon the consecrated priestly head;
down to the beard their goodness too is shed;
even to Aaron's beard they go.

Anointing oils flow down along the trimming
of Aaron's garments where their drops are gleaming,
as if the dew that oft descends
on Hermon's mountains were to come and rest
on Zion's mount where God his people blessed
with blissful life that never ends.

Of course, most of us do not live in monasteries. But what if the ordinary communities of which we are part, namely, families, schools, work communities, &c., were to adopt something of this benedictine spirituality, praying through the psalms together on a regular basis? By God's grace, it could just transform these very communities.

The Politics of the Psalms

Perhaps it has something to do with my first name, but I have always been fascinated by the biblical book of the Psalms. I grew up singing from a hymn book in which the Psalms set to meter were given a prominent place. The liturgical practice of singing the Psalms has ancient roots going back to temple and synagogue worship, finding its way also into Christian churches. It is thus not surprising that, until the end of the 18^th century, the majority of Protestants sang from metrical psalters containing all 150 Psalms. Most Protestants since then have abandoned this practice, but many in the Reformed tradition have held to it, glorifying God, as it is often said, in his own words.

Read more here.

Updates: Psalms 128 and 88

I have just completed versifications and arrangements for two more psalms: 128 and 88. The tune for Psalm 128 I first heard more than 30 years ago when I was a graduate student at Toronto's Institute for Christian Studies. Senior Member Calvin Seerveld had brought along to class his own versification of this psalm and had us, his students, sing it through. I was intrigued and began to follow in his footsteps, setting to verse Psalm 133 albeit to my own rather weak common metre melody. I finally returned to this psalm late last week.

The psalm itself is one of the more cheerful and optimistic ones, promising peace and prosperity to those who fear the LORD. I completed it last friday, the very day that northeastern Japan was struck by a devastating earthquake and tsunami. Because its promises sounded a little too glib against the backdrop of tragedy, I held off posting it until I had also versified and arranged Psalm 88, easily the darkest of the psalms. This I completed today. Verses 16-17 are reminiscent of a tsunami:

Your wrath has swept over me;
your terrors have destroyed me.
All day long they surround me like a flood;
they have completely engulfed me.

In my own regimen of praying through the psalms, I currently encounter Psalm 88 on the 17th day of each month at morning prayer. It always takes my breath away because it is so bereft of anything resembling hope. It is appropriately said or sung on Holy Saturday, that is, the day between Good Friday and the Paschal feast. As St. Paul puts it in 1 Corinthians 15:17-19:

And if Christ has not been raised, your faith is futile; you are still in your sins. Then those also who have fallen asleep in Christ are lost. If only for this life we have hope in Christ, we are of all people most to be pitied.

Yet Christ has indeed risen, which is our ultimate source of hope as we travel through the penitential Lenten season. Psalm 88 does not have the last word, although it is the last psalm for morning prayer that day. However, at evening prayer Psalm 89 is sung, which begins: "I will sing of the LORD’s great love forever; with my mouth I will make your faithfulness known through all generations." God's faithfulness has the final say as we look forward to the day of our salvation at Christ's return.

Psalm 128 is a rhymed psalm, while Psalm 88, with its feminine endings in four of the six lines, is unrhymed. Both melodies are in the dorian mode, which is probably the most versatile of the traditional church modes, easily capable of communicating both hope and despair. More of the Genevan Psalms are in the dorian mode (45 in total) than in any other single mode.

Updates: Psalms 111 and 112

Last month I mentioned that I had posted Psalm 111, but I will say a bit more about this psalm now that I have posted 112 as well. Psalms 111 and 112 are in effect mirror psalms comparing God with the godly person. It may be justly said that the notion of man being created in God's image, often thought to be limited to Genesis 1:26-27 and 9:6 and implied in Psalm 8, is also found in these two psalms. Both are alphabetical acrostic psalms containing 22 lines each. Each line of 111 is reflected in some fashion in its counterpart in 112, conveying the sense that, e.g., if the justice or righteousness of God endures for ever, so does that of the just man (the ו VAV line is identical in both psalms). The alleluias at the beginning of each psalm precede the alphabetical lines.

Although the Genevan tunes for the two psalms have different metres (889 889 and 999 999), they nevertheless have the same number of lines per stanza. With four stanzas in my own versification, this adds up to 24 lines in total, two more than the number of letters in the Hebrew alphabet. Consequently, I have had little choice but to expand slightly the thoughts contained in the first stanzas of each psalm while following the number of lines from the original in the remaining stanzas. The texts are unrhymed.

Both tunes are in the dorian mode. That for 111 is shared with Psalms 24, 62 and 95, while the tune to Psalm 112 is unique to that psalm.

Updates: Psalms 70 and 80

Psalms 70 and 80 have now been posted. Psalm 70 is an unrhymed metrical versification set to a tune in the phrygian mode. Since ancient times the first two lines of this psalm have been used to open the prayers in the liturgy of the hours, especially at vespers. Here the psalmist cries out to God for help in distress brought on by his enemies. The Hebrew superscript ascribes it to David, while the Septuagint indicates merely that it is for him or pertains to him.

Psalm 80 is striking in that it obviously originates in the northern kingdom of Israel after its division from Judah following the death of Solomon. It relies, somewhat curiously, on a mixed metaphor. As in the beloved Psalm 23, God is likened to a shepherd, yet his people are likened, not to sheep, but to a vine which he took from Egypt and planted so that its tendrils would spread from the river (the Jordan or perhaps even the Euphrates) to the sea. The reference in verse 17 to the "son of man" could perhaps be understood as an anticipation of the coming Messiah, the True Vine. This is a rhymed versification and the tune is in the dorian mode.

February updates

I have just obtained a copy of the first English-language album by The Psalm Project, titled Psalms Unplugged, which was just released late last month. Here is the brief review I've posted on the discography page:

This is a noteworthy recording rendering the Genevan Psalms in contemporary jazz style, employing a full array of instruments. The group generally sings in Dutch, but this is their first English-language album. With their unique treatments, they make the Genevan tunes sound as if they were composed the day before yesterday, although they do alter the melodies and rhythms somewhat to fit their purposes. For example, the well-known tune to Psalm 138 they effectively move from ionian to mixolydian mode, giving it nearly a Celtic flavour. In the hands of The Psalm Project, Psalm 150 takes on the flavour of a lively African-American gospel song. The results will likely win over even the classical music aficionado. Unlike many contemporary treatments of scripture songs, they do not restrict their efforts to psalms of praise, but are willing to tackle such lamentations as found in Psalm 22. Perhaps unsurprisingly they have not thus far touched the imprecatory psalms. Check out The Psalm Project's Dutch and English websites.

CDs can be purchased in Europe: info@thepsalmproject.nl, in the United States: Calvin College Campus Store, and in Canada: psalms@newmaker.net.

Here is a sample from the album:

I have just posted an unrhymed versification of Psalm 111, which I wrote last week. I did not have to arrange the tune, which is the same as that for Psalms 24, 62 and 95, which are already posted. Psalm 70 is forthcoming. I've come up with a text but I have yet to complete a harmonization of the melody.

I have received a copy of the "Authorized Provisional Version" of the Book of Praise of the Canadian Reformed Churches. I have not yet made a detailed comparison to the 1984 edition, but from what I've seen thus far, it looks to be superior. I will be posting a fuller review at some point. A few things immediately struck me that I will mention here. First, the volume has finally dropped the old second-person-singular pronoun and verb forms in addressing God, a usage that this federation of churches retained long after other English-speaking Christians had abandoned it. Second, Psalm 150 now has a reference to dancing, which the earlier edition had seen fit not to include. I will have other observations to make in the near future.

Genfi Zsoltar: the Psalms in Hungarian

I have posted a link on both my bibliography and links pages to a pdf file of the Psalms in Hungarian. These versifications were the work of Albert Szenci Molnár (1574-1639), or Szenci Molnár Albert. (In the Hungarian language the "Christian name" comes last with the family name coming beforehand. In Molnár's case Szenci refers to his birth village of Senec, near the city of Pozsony, now Bratislava, Slovakia. A not uncommon family name, Molnár means "miller" and obviously refers to a forebear's occupation.)

A Reformed pastor, Molnár travelled widely during his life, visiting and studying in a number of European centres of the Reformation. His metrical translation of the Psalms was inspired by the German-language Lobwasser Psalter and was published in Herborn in 1607. (The Reformed Christian legal theorist Johannes Althusius had published his Politics in Herborn a few years earlier but had moved to Emden before Molnár's arrival.) He died in Kolozsvár in Hungarian Transylvania, now Cluj-Napoca, Roumania.

The following video shows choral performances of Psalms 19 and 128, using Molnár's texts:

Revised Grail Psalter now online

It can be found here.

Year-end updates

For Christmas this year my beloved wife gave me an old copy of the Lobwasser Psalter, a sturdy little volume that has weathered the centuries remarkably well. The Lobwasser Psalter was a German-language translation of the Genevan Psalms set to verse in 1573 by Ambrosius Lobwasser (1515-1585), a Lutheran teaching law at Königsberg in East Prussia. His translation was based on the French text he had heard the Huguenots singing during his stay in France. Lobwasser intended his Psalter primarily for private rather than liturgical use. This edition was published in Zürich in 1770, by which time it evidently was being used in public worship after all.

I have now scanned and posted the Czech-language psalter I purchased in Prague at age 21, titled Malý Kancionál (Little Hymnal) and published in Kutná Hora in 1900, when Bohemia and Moravia were still part of the Habsburg empire. The Czech translation was made by Jiří Strejc (also known as Georg Vetter, 1536-1599), a minister of the Unity of the Brethren (Unitas Fratrum) from Zábřeh in Moravia. Strejc studied in Tübingen and Königsberg and came into contact with the Lobwasser Psalter, which impressed him so favourably that he decided to model his own Czech version on it, an undertaking he completed in 1587. Strejc is probably best known for his German-language hymn text, Mit Freuden Zart, familiar in English as Sing Praise to God, Who Reigns Above, the tune to which comes from the Bohemian Brethren's Kirchengesänge (1566) and bears more than a passing resemblance to that of Genevan Psalm 138.

My thus far preliminary research has raised some intriguing questions worth further exploration. First, might Strejc have met Lobwasser personally in Königsberg and thereby come under his more direct influence?

Second, given that the Kirchengesänge were produced by the same group of which Strejc was a minister, might this be evidence of a connection between the tunes for Psalm 138 and Mit Freuden Zart? To be sure, Strejc's versification of that Psalm came later, but might the Unity of the Brethren have become aware of the Genevan tunes earlier, and might it have been through Strejc? Tellingly, the Lutheran Book of Worship (1978) ascribes the tune directly to the "Trente quatre pseaumes de David, Geneva, 1551." These two possibilities are probably mutually exclusive.

Third, if Lobwasser based his translations on the French text of Marot and Bèze (for which he was criticized by his Lutheran colleagues), and if Strejc based his translations on Lobwasser's German text, how true are Strejc's texts to the Hebrew? Only someone conversant in all four languages would be able to answer this question.





By the way, the city of Königsberg has been called Kaliningrad since 1945 and has been part of the Russian Federation. At some point there was talk of changing the name (Kalinin was a Stalin-era Soviet functionary) to honour its most famous citizen, Immanuel Kant. I would like to suggest as an alternative that it be renamed for either Lobwasser or Strejc. Or even both: Lobwasserstrejcgrad!

Those interested in becoming better acquainted with congregational psalm-singing in the Netherlands would do well to check out Ijsselm's Channel on youtube (short for Ijsselmeer perhaps?). Here one finds a number of recently-posted Genevan Psalms sung in the traditional 19th-century Dutch fashion characterized by four distinctive features: (1) they are sung at a slow pace; (2) they are often sung in isometric rhythm (i.e., every note having equal value), as opposed to the more syncopated rhythms of the original tunes; (3) the organist plays the initial note for a few seconds before the congregation joins in, leaving the impression that the congregation is lagging behind; and (4) the arrangements used suppress the modal flavour of the original tunes. I will probably not be posting these on my video pages, but I will post one below as an example:



I might point out that, amongst the Dutch Canadians I know personally, many dislike intensely this style of singing and their churches have thus altogether abandoned the Genevan Psalms for more contemporary fare. I find this tragic, and my own efforts over the past quarter century are intended to recover the Genevan tradition and to make it more singable for younger generations of Christians in a variety of traditions.

Huckaby on the psalms

Chuck Huckaby has expanded his earlier post on the Genevan Psalms for The Worldview Church: Reviving Personal Devotion through use of the Genevan Psalms. In the course of this article he is kind enough to mention my own work in this area.