THE TUNE.
A gentle and sympathetic melody entitled “Alsace” well represents the temper of the words—and in name links the nationalities of writer and composer. It is a choral arranged from a sonata of the great Ludwig von Beethoven, born in Bonn, Germany, 1770, and died in Vienna, Mar. 1827. Like the author of the hymn he felt the hand of affliction, becoming totally deaf soon after his fortieth year. But, in spite of the privation, he kept on writing sublime and exquisite strains that only his soul could hear. His fame rests upon his oratorio, “The Mount of Olives,” the opera of “Fidelio” and his nine wonderful “Symphonies.”
“NO CHANGE IN TIME SHALL EVER SHOCK.”
Altered to common metre from the awkward long metre of Tate and Brady, the three or four stanzas found in earlier hymnals are part of their version (probably Tate's) of the 31st Psalm—and it is worth calling to mind here that there is no hymn treasury so rich in tuneful faith and reliance upon God in trouble as the Book of Psalms. This feeling of the Hebrew poet was never better expressed (we might say, translated) in English than by the writer of this single verse—
No change of time shall ever shock
My trust, O Lord, in Thee,
For Thou hast always been my Rock,
A sure defense to me.
THE TUNE.
The sweet, tranquil choral long ago wedded to this hymn is lost from the church collections, and its very name forgotten. In fact the hymn itself is now seldom seen. If it ever comes back, old “Dundee” (Guillaume Franc 1500–1570) will sing for it, or some new composer may rise up to put the spirit of the psalm into inspired notes.