Psalms. Book Five. [575]-600. Gloria Patri [606]-7. Ter Sanctus (Trisagion) “Holy, holy, holy” [601]-2. Te Deum. “Holy God we praise Thy name” [519]. A metrical translation of an ancient version.
3. Hymns of the Eastern Church: Greek and Syriac.
The ancient Eastern Church developed a rich hymnody, rising steadily in the fourth century until it reached its culmination in the eighth and ninth centuries. Since it employed the Greek and Syriac languages, its hymnic treasures remained almost completely hidden and unknown to the English speaking churches for many centuries. It is only in recent years, through the efforts of scholars like John Mason Neale and Edward Caswall that some of the Eastern hymns have been translated and made available for modern use. Eastern hymns are characterized by an objective, dignified, contemplation of God. Except when confessing sin and unworthiness, they contain nothing of the subjective feelings of the worshipper such as is found in many modern hymns. Though there is very little in the Hymnary from the Eastern Church, our collection is enriched by the inclusion of a small number of hymns from this source.
Greek Hymns in the Hymnary
Clement of Alexandria, 170-220, “Shepherd of tender youth” ([398]) Candle Lighting Hymn, “O gladsome light” ([34]) Synesius, c. 375-430, “Lord Jesus, think on me” ([196]) St. Germanus, 634-734, “A great and mighty wonder” ([526]) St. John of Damascus, 8th century, “The day of resurrection” ([115]) “Come, ye faithful, raise the strain” ([113]) St. Stephen the Sabaite, 725-94, “Art thou weary, heavy-laden” ([143]) Candle Lighting Hymn, “Darkening night, the land doth” ([32])
4. Hymns of the Western Church: Latin.
Two great names are associated with the music of the Western Church: Ambrose, c. 340-97, known as the “Father of Hymnody in the Western Church;” and Gregory the Great, 540-604, the missionary-minded pope, and reformer of church music.
Ambrose, Bishop of Milan, not only composed hymns and music but stimulated others to do the same. Under his leadership there developed a large body of church music based upon four scales, which came to be known as Ambrosian Chant. Although widely known as a scholar, theologian, and preacher, Ambrose’s most lasting influence was upon the music of the church. None of his hymns are found in our collection.
Gregory the Great, two centuries later, carried forward the work of Ambrose. He added four more scales or modes to the Ambrosian system, thus giving to the repertory of church music more definiteness and variety. The music that developed during the papacy of Gregory came to be known as Gregorian Chant, or plainsong, or plainchant. It is “plain” because unadorned, unharmonized and unmeasured. Its rhythm is the free rhythm of speech, the beats falling irregularly. The Gregorian Chant remained the music of the church for a thousand years and forms the basis of all Roman Catholic music today. Some of these chants were adapted by Luther for congregational singing, and set to words in the vernacular of the people. A few of the tunes, usually in a form scarcely recognizable from the original, are used today in Protestant hymnals, as for instance, the tune “Hamburg.” Some of the music in the Amish church services is traceable to the Gregorian Chant.
The singing in the medieval church was liturgical in character and confined to the clergy and trained choirs. This was its weakness. The laity was not expected to sing, neither were they able to do so. Congregational singing, so important in our worship today, had for centuries been unknown in the Roman Catholic Church. Reform was inevitable and it came in due time.