If then we take Palestrina's harmonic interpretation of the modes, it seems to me that there can be no objection to giving vocal parts to the simpler hymns. If it is preferred to sing them in unison, the modal settings will be a guide to the accompanist. But it is my opinion that such settings as I offer will really please, and they may possibly do something to bring these tunes, which have a unique, unmatchable beauty, into favour with choirs that dislike the effort and waste of unison singing. These settings offer no difficulty of execution all; that is necessary is that the under voices should know the melody: and though this is not generally thought requisite in a modern hymn, it is asking nothing extra of a choir that would sing the plain-song tunes; for even if they are sung in unison, they must first be known by heart (otherwise their rhythmical freedom, which defies notation, and is indispensable to their beauty, cannot be approached), and when once a choir has got thus far, the under parts, being phrased with the melody, will easily follow it. An explanation of the notation of these settings is given in the note to Hymn 29. Congregational singing of hymns is much to be desired; but, though difficult to obtain, it is not permissible to provoke it by undignified music. Its only sound musical basis is good melody: good melodies should therefore be offered to the people, such as it has been the object of this book to bring together; and they should have as much freedom and variety of rhythm as possible. If some of the good melodies are, owing to their wide compass or other difficulty, unfit for congregational singing, this is an advantage; because neither are all hymn-words equally suitable. Most of the words in this book are suitable for congregational singing; some are not. A hymn-book which is intended entirely for congregational use must be faulty in one of two ways; either it will offer for congregational singing hymns whose sacred and intimate character is profaned by such a treatment, or it will have to omit some of the most beautiful hymns in the language: but congregations differ much, not only with regard to the music in which they are capable of joining, but also as to the sort of words which best express their religious emotion.

In the following notes the left-hand side of the page is given to the words, the right to the music of each hymn: in the latter column will be found full information as to the text of the music, the source whence it is derived, &c., together with a careful account of every departure that has been made from the originals. It is hoped that this will not only be of general interest, but that it may inspire confidence in the text of the book, and ensure the reception which its authority demands. For the text of the music, and all the statements in the notes, I am responsible; excepting those portions of the notes which are therein assigned to their proper authorities, and in these I am responsible for the correctness of the quotations and references, in which I have done my best to secure accuracy. I owe much to the kindness of Mr. W. Barclay Squire at the British Museum; I have also to thank Mr. Godfrey Arkwright for the loan of some rare books, and Dr. Chas. Wood of Cambridge for two settings and occasional reading of music proofs; in which latter task I gratefully record the help of Mr. J. S. Liddle and Dr. Percy Buck. To Mr. Miles Birket Foster I owe the three trios by Jeremy Clark, and to the Revs. W. H. Frere and G. H. Palmer the text of the plain-song melodies, and the information concerning them which is given in the following notes: it is due to the generosity with which they put their learning and judgement at my disposal that I am able to offer these tunes with the same confidence as the rest of the book. Professor Wooldridge, having co-operated with me throughout, has allowed his name to appear on the title page.

[[22]]No. 28 is a good example of this. See also No. 98.

[[23]]No. 57 is a good example. The line Du bist mein, und ich bin dein, corresponds in stanza 2 with Wenn die Welt in Trümmer fallt, and in stanza 4 with Elend, Noth, Kreuz, Schmach und Tod. Again in No. 77 the opening phrase, Mon Dieu, mon Dieu, of the twenty-second psalm needs music which conditions the other stanzas severely. Again the weak apologetic latter half of the German hymn Herzliebster Jesu, No. 42, is irreconcilably out of the key with the pathetic grief of the beginning. Cases in which caesuras and grammatical breaks are inconsistent are numberless.

[[24]]See note to Hymn 90. Other english hymns altered for practical purposes in this book are Nos. 19, 35, 51, last verse of 52, 66, 94, and 96.

[[25]]I give illustrations of these words in notes to Hymns 27, 54, 58, 63, 68, 84, and 98.

[[26]]The cheapness is not the direct cause of the ugliness of our common hymn-books, nor is their ugliness the cause of their cheapness. If many copies of a book are sold, they can be sold cheaply; if only a few, then the initial expense, which is much the same whether the book be beautiful or ugly, must be shared between those few buyers and the author. But thus it comes about indirectly for cheapness to be the cause of meanness and ugliness, because in a larger market there is greater indifference to artistic excellence of all kinds, and from habit a preference for what is inferior. In a large edition this book could be sold as cheaply as another.

[[27]]I state here once for all that in musical matters I offer my opinion with becoming humility.

ADVERTISEMENT THE YATTENDON HYMNAL. Edited by Robert Bridges and Professor H. Ellis Wooldridge. Containing 100 hymns and 4 voice-parts. Printed at the Oxford University Press, 1899. May be obtained of Henry Frowde, Oxford Warehouse, Amen Corner, London, E.C., or through any bookseller. Price, 4to boards, £1. A few copies of the Folio, price £4, are still to be had.
THE WORD-BOOK OF THE
YATTENDON HYMNAL, Which contains a full list of the music, and is called, THE SMALL HYMN-BOOK, may be had of B. H. Blackwell, Broad Street, Oxford, or through any bookseller. Price 1s. 6d.