Psalm 23: alternative versification

My versification of Psalm 23 is one of the first ones I wrote back in the mid-1980s. I have now posted another alternative versification that is closer to the original text, is unrhymed and consists of only two stanzas:

The LORD's my shepherd, I shall want for nothing.
He makes me lie in pastures lush and verdant.
He leads me to refreshing waters flowing,
restores my strength, leads me to righteous pathways
for his name's sake. Though I may walk in darkness,
I will not fear; for you are always with me.

Your rod and staff provide me constant comfort.
Before my foes, a feast you are preparing.
My head with finest oil you have anointed;
with you my cup is full to overflowing.
Goodness and mercy all my days pursue me,
and in the LORD's house I will dwell for ever.

Psalm 95 (St. George)

I have posted a second video at the ByzantineCalvinist youtube channel:

Stolz: Psalm 9

The count continues as Ernst Stolz has now posted Psalm 9:

Gaelic psalm-singing

The BBC reports on Gaelic psalm-singing in the Isle of Lewis. Oddly, the reporter misfires at the outset with an obviously inappropriate reference to nature worship, but the remainder of the report is worth hearing.

Youtube channel posted

I've finally established my own youtube channel, ByzantineCalvinist. Here is the first video I've posted, which contains my arrangement of Psalm 13 played on the guitar:

Ernst Stolz's psalms

The psalm posted yesterday was performed by early music artist Ernst Stolz, whose youtube channel is worth exploring. Here is his performance of Psalm 7, which was posted just two days ago.



Stolz appears to be systematically going through the Genevan Psalter from the beginning (to the end?) and posting his performances here. Let us hope that he will soon release a recording of these.

Psalm 1

And here is a recently posted performance of the first Psalm:

Ali Ufki's Psalm 8

More from Ali Ufki, Sarband and Chorakademie Dortmund, complete with whirling dervishes:

Jimmy Webb's Psalm One-Five-O

Some of us will remember the remarkable song-writer of the late 1960s and early '70s, Jimmy Webb, whose Wichita Lineman and Up Up and Away were runaway hits. I had not known until recently that he is a man of deep christian faith who once composed a jazz setting of Psalm 150. Although parts of it are somewhat dated nearly forty years later ("yeah, yeah, yeah"), it is nevertheless worth hearing.

Psalm 42: Mint a szép hűvös patakra

Katalin Szvorák and Péter Pejtsik give Psalm 42 something of a Celtic flavour, with a slightly modified melody line in the mixolydian mode, proving once again that the Hungarians do marvellous things with the Genevan Psalms.

The decline of psalm-singing: the rosary

We are given to understand that many religions have something akin to prayer beads to assist the devout in saying their prayers. The rosary is one such aid used especially by Roman Catholics. However, it seems that the prayers accompanying the rosary long ago supplanted the Psalms for the use of illiterate people who had no access to the latter. Here is the story, according to this website:

The Rosary is actually believed to have developed as a result of the monasteries, because in the monasteries the monks would pray the Psalms, 150 altogether. However, many monks as well as townspeople were unable to read, but wanted to be in solidarity in prayer with the monks, and so developed a means of praying 150 “Our Fathers” which later, given the rise in devotion to Mary, added the “Hail Mary” as well. This is why sometimes the Rosary is called “Mary’s Psalter.” However, what would happen is given the amount [sic] of prayers, it would be hard to keep track, so they developed a sort of abacus in order to keep count, originally it was stones but later developed into beads on a string.

This is confirmed elsewhere. Finally, here is the account given in the Catholic Encyclopedia (with sources deleted for ease of reading):

But there were other prayers to be counted more nearly connected with the Rosary than Kyrie eleisons. At an early date among the monastic orders the practice had established itself not only of offering Masses, but of saying vocal prayers as a suffrage for their deceased brethren. For this purpose the private recitation of the 150 psalms, or of 50 psalms, the third part, was constantly enjoined. Already in A.D. 800 we learn from the compact between St. Gall and Reichenau that for each deceased brother all the priests should say one Mass and also fifty psalms. A charter in Kemble prescribes that each monk is to sing two fifties (twa fiftig) for the souls of certain benefactors, while each priest is to sing two Masses and each deacon to read two Passions. But as time went on, and the conversi, or lay brothers, most of them quite illiterate, became distinct from the choir monks, it was felt that they also should be required to substitute some simple form of prayer in place of the psalms to which their more educated brethren were bound by rule. Thus we read in the "Ancient Customs of Cluny", collected by Udalrio in 1096, that when the death of any brother at a distance was announced, every priest was to offer Mass, and every non-priest was either to say fifty psalms or to repeat fifty times the Paternoster. Similarly among the Knights Templar, whose rule dates from about 1128, the knights who could not attend choir were required to say the Lord's Prayer 57 times in all and on the death of any of the brethren they had to say the Pater Noster a hundred times a day for a week.

I am unaware of any Reformed Christians using a rosary, and certainly no Reformed church endorses the practice. However, I have come across two efforts to reconnect the rosary with its origins in the Psalms and other scriptures: Pray the Rosary with the Psalms and The Daily Prayer Rosary.

Getting used to new texts

I will not cross-post it here, because it is not entirely on-topic, but I will link to this short piece for those with a more general interest in liturgical matters: 'And with your spirit'. However, for our purposes here it is relevant to recall that Roman Catholic parishes are becoming accustomed, not only to new liturgical texts for the mass, but also to a revised Grail Psalter, which the Vatican recently mandated for English-speaking churches already used to the 1963 edition. As with the ordinary of the mass, many composers have written settings for the '63 Grail Psalms. Producing a new sung Grail Psalter will likely take some time. Why the changes? Here is a good explanation that applies in some respects to both the mass and the psalter:

When the Grail Psalms were first translated in the 1950s and early 1960s, the desire to retain strict rhythmic patterns similar to those found in their original Hebrew setting was a primary principle for the translators. In attempting to adhere to these rhythmic patterns, they would often abbreviate or paraphrase a text in preference to a more literal translation. By doing so, some instances of the rich biblical imagery of the Psalter were lost. Furthermore, in later decades, significant progress was made in the understanding of Hebrew rhetoric and how to incorporate the Hebraic style in English translation. Finally, there also arose a desire to return to a more elevated sacred language, in contrast to the informal and colloquial approach of the 1950s and 1960s.

Although my primary interest on this site is metrical psalmody, it must be admitted that the problems with the 1963 Grail Psalter apply in large measure to metrical psalms as well. This is not an argument against their use, but I do wonder whether Reformed churches ought not to consider ways of singing the psalms that do not necessitate altering, and in some cases abbreviating, the texts.

Praising God in the langue d'oc

During the 16th century one of the areas of strength for the Reformation was the south of France. Here a distinctive romance language was (and is) spoken, known variously as the langue d'oc and Occitan. Here is Psalm 150 sung in the Occitan language. The Genevan melody is slightly altered in the 3rd, 4th, 5th and 8th lines. The portraits at .30 and 2.30 are of Marguerite d'Angoulême and her grandson, King Henri IV, respectively, both of whom played key roles in the religious struggles in France.

The psalms for guitar

The guitar is one of my favourite instruments, and Marcelo de la Puebla is a great guitarist, as evidenced in the following performances of Psalms 92, 68, 128, 77, 47, 137 and 150. The arrangements are by Adrien le Roy.

Book of Praise, part 2: more on the Canadian Reformed psalter

Unlike, say, the Free Reformed Churches and the Reformed Presbyterian Church in North America, the Canadian Reformed (CanRef) do not sing only the Psalms, though these have clear priority. There is a smaller section of their new Book of Praise (BOP) devoted to eighty-five hymns, but even these lean heavily towards biblical canticles found elsewhere in scripture, such as the Decalogue (hymn 11), the Song of Moses from Deuteronomy (hymn 12) and the Song of Mary, also known as the Magnificat (hymn 17). There are two versions of the Apostles' Creed, one metrical (hymn 2) and the other nonmetrical (hymn 1). The tunes tend to come from the Genevan and German chorale traditions, though not exclusively so.

Then come the three ecumenical creeds, the Three Forms of Unity (i.e., the Belgic Confession, the Heidelberg Catechism and the Canons of the Synod of Dort), the liturgical forms (or rites) for various occasions, prayers, the church order and forms of subscription. This volume is, in short, a book for ordering the entire worship life of an ecclesial body rooted in a particular Reformed confessional tradition. This makes it indispensable for its members for whom it was produced, but it also limits its usefulness beyond its boundaries, which is regrettable given that much therein deserves to be more widely known and appreciated. More on this in a moment.

The Bible translation used is the 1984 edition of the New International Version, which is a change from the Revised Standard Version used in the 1984 BOP. However, the NIV 1984 has now been updated and a new edition has just been published, the NIV 2011 (Click here to read my preliminary assessment of this new edition). Whether the CanRef Churches will adopt the update or switch to another translation remains to be seen. In any event, their Authorized Provisional Version was outdated at virtually the moment it was published. My guess is that the authorized final version will use yet another translation – possibly the English Standard Version, which is favoured in the Lutheran Church-Missouri Synod and the Presbyterian Church in America.

Now to the Psalms themselves. As I indicated in my first post, the texts generally flow smoothly – more smoothly than those in the previous edition. However, the major difficulty with these versifications, as I see it, is that they stick rather too closely to the rhyming schemes of the original French texts, which, oddly enough, do not always fit well with the tunes. This often leaves the stressed long notes coinciding with unstressed syllables or even short words like the and to. This is not peculiar to the BOP, but is characteristic of every translation of the Psalms of which I am aware, including Lobwasser's German, Strejc's Czech, Molnár's Hungarian and the 1773 Dutch psalters. Moreover, masculine (stressed) and feminine (unstressed) endings in the text do not always match the masculine and feminine endings in each line of the music. Together these make for somewhat awkward singing and may in part explain why the Genevan melodies did not catch on in English-language psalters.

One example should suffice. Consider Psalm 13, first in French:

Jusques à quand as estably
Seigneur, de me mettre en oubly?
Est ce à jamais? pour combien d'aage
Destourneras tu ton visage
De moy, las, d'angoisse remply?

Try singing it to this tune. The word oubly (note the archaic spelling) should be accented on the second syllable, but the music makes for a stress on the first. The same can be said of remply. (Note that the second syllable of visage contains a melisma, or two notes on a single syllable, a relative rarity in the Genevan Psalter. In their efforts to make the Psalms singable by ordinary congregations, the composers of the psalter's tunes deliberately tried to avoid melismata where they could.) Here now is the BOP's most recent English version:

How long will you forget me, LORD?
How long must sorrow be endured?
You hide your face while here I languish.
Foes with their taunts increase my anguish.
Will I forever be ignored?

If you try singing it to the tune above, you will notice that the music for sorrow places the stress on the second syllable, while that for endured emphasizes the first – precisely the opposite of what they should be. Similarly, the music associated with ignored stresses the first rather than the second syllable. (The melisma comes on the first syllable of anguish.) Such incongruities are found throughout the psalms. Again this is not peculiar to the BOP; it is found in all the translations of which I am personally aware. Here the CanRef Churches might have hewed less closely to some of the specifics of their own tradition for the sake of singability and, I would argue, for the long-term durability of their larger tradition of sung psalmody.

I offer here my own translation of the same Psalm:

How long, O LORD, must I endure?
Will you forget me for ever?
Shall I look on your visage never?
How long shall my soul constant pain endure,
and my poor heart be in sorrow?

Note that I have altered the traditional rhyme scheme from AABBA to ABBAC, the latter of which better fits the stresses in the tune. I have also eliminated the unnecessary melisma in the fourth line. The final line does not rhyme with any of the others, but this, in my view, has no bearing on its singability and in fact may enhance it.

Will the CanRef Churches continue to sing the Genevan Psalms in future decades? I hope and pray that they will, however the historic tendency for hymns to replace psalms in the liturgy is well attested. My understanding is that the Dutch counterparts to the CanRef Churches have begun to use supplementary books with praise choruses in worship. One hopes this does not indicate a decline in psalm-singing. My prayer is that this new Book of Praise will help to maintain and invigorate the Genevan tradition for future generations in the one English-speaking denomination whose worship it has shaped. In the meantime I will continue my own efforts here in hope of disseminating the Genevan tradition more widely elsewhere.

Hollywood takes on the Genevan psalms

In 1952 Miklós Rózsa, one of Hollywood's great film composers, borrowed the Genevan Psalter's tune for Psalms 36 and 68 in scoring Plymouth Adventure, the story of the Pilgrims' migration to North America in 1620.



Here is the text sung by the chorus:

Confess Jehovah thankfully,
For He is good, for His mercie
Continueth for ever.
To God of gods confess doo ye,
Because His bountiful-mercee
Continueth for ever.
Unto the Lord of lords confesse
Because His merciful kindnes
Continueth for ever.
To Him that dooth Himself onely,
Things wondrous great, for His Mercy
Continueth for ever.

The film's creators obviously did their homework, for this text comes from Henry Ainsworth's Psalter of 1612, which the Pilgrims brought with them from the Netherlands. This versification is of Psalm 136, which Ainsworth's Psalter assigns to this tune. I've not seen this film myself, but a friend told me that it aired last evening on television.

Singing the Psalms at AUB

Singing Psalm 42 en français at the American University of Beirut:

Calvin in the Golden Age

I have recently acquired another recording featuring the Genevan Psalms: Calvijn in the Gouden Eeuw: Calvinist Music from France and the Netherlands. A number of psalms are here beautifully performed by the Camerata Trajectina, an early music ensemble based in Utrecht, Netherlands. This recording was produced in 2009, the Calvin quincentenary year. Among the Psalms performed are 100, 2, 91, 8, 9, 5, and several more, according to arrangements by Goudimel, Sweelinck, Claude Le Jeune and others. These are sung in Dutch and French. Tellingly, the Dutch versions use the 16th-century versifications of Pieter Datheen rather than the "traditional" 1773 version used in most Dutch churches into the mid-20th century, undoubtedly because the latter are judged to be too "late" for an ensemble specializing in music before 1600. The recording ends with Psalm 103 played on the carillon. I would love to be in a town square while this was being played from a church's bell tower. This is definitely worth purchasing and listening to.

Lengyel's psalms, continued

Psalm 23:



Psalm 42:



Psalm 90:

More psalms from Judit Lengyel

I find myself quite taken with Lengyel's beautiful, unadorned renditions of the psalms. Here is Psalm 31:



And Psalm 130:



And finally Psalm 150, which we get to see her sing: