Kedron (Ananias Davisson): Difference between revisions
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{{Instruments|A cappella}} | {{Instruments|A cappella}} | ||
{{Pub|1|1816|in ''[[Kentucky Harmony (Ananias Davisson)|Kentucky Harmony]]''|vol=Edition 1}} | {{Pub|1|1816|in ''[[Kentucky Harmony (Ananias Davisson)|Kentucky Harmony]]''|vol=Edition 1}} | ||
{{Descr|This version is of Ananias Danisson's ''Garland'' from 1817, with Charles Wesley's original words from 1762. For another arrangement of this tune, see [[Kedron (William Hauser)]]. | |||
The tune was first published by [[Amos Pilsbury]] for four parts in his United States Sacred Harmony, 1799, without attribution. Arranged by Elkanah Dare for three parts in 1813; then by Ananias Davisson for four parts in 1816 and again in 1817, the latter as ''Garland'' (with different words by Isaac Watts, "How pleasant, how divinely fair"). It was arranged again by Alexander Johnson for four parts in 1818; this arrangement became the basis for the three-part versions in Southern Harmony, 1835 (p. 3) and The Sacred Harp, 1844 (p. 48). The complex history of this tune is discussed at length by David Music (1995); he concludes that Pilsbury arranged a folk tune obtained orally or from an unattributed manuscript. | The tune was first published by [[Amos Pilsbury]] for four parts in his United States Sacred Harmony, 1799, without attribution. Arranged by Elkanah Dare for three parts in 1813; then by Ananias Davisson for four parts in 1816 and again in 1817, the latter as ''Garland'' (with different words by Isaac Watts, "How pleasant, how divinely fair"). It was arranged again by Alexander Johnson for four parts in 1818; this arrangement became the basis for the three-part versions in Southern Harmony, 1835 (p. 3) and The Sacred Harp, 1844 (p. 48). The complex history of this tune is discussed at length by David Music (1995); he concludes that Pilsbury arranged a folk tune obtained orally or from an unattributed manuscript. | ||
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Wesley's hymn is four stanzas, each {{CiteCat|88. 88. D (L.M.D.)}}; Pilsbury and all successive versions of this tune have used only half of this meter, that is, {{CiteCat|88. 88 (L.M.)}}. | Wesley's hymn is four stanzas, each {{CiteCat|88. 88. D (L.M.D.)}}; Pilsbury and all successive versions of this tune have used only half of this meter, that is, {{CiteCat|88. 88 (L.M.)}}. | ||
A folk hymn, derived from one or several folk songs (Jackson 1953b, No. 57). | A folk hymn, derived from one or several folk songs (Jackson 1953b, No. 57).}} | ||
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==Original text and translations== | ==Original text and translations== | ||
{{LinkText|Thou man of griefs, remember me}} | {{LinkText|Thou man of griefs, remember me}} | ||
Revision as of 00:45, 7 April 2021
Music files
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- (Posted 2017-11-18) CPDL #47433:
- Editor: Barry Johnston (submitted 2017-11-18). Score information: Letter, 1 page, 76 kB Copyright: Public Domain
- Edition notes: Note heads converted to oval shapes. Original words by Charles Wesley, 1762. Seven more half-stanzas from Wesley's hymn included.
- (Posted 2017-11-18) CPDL #47430:
- Editor: Barry Johnston (submitted 2017-11-18). Score information: 7 x 10 inches (landscape), 1 page, 49 kB Copyright: Public Domain
- Edition notes: Note heads in four-shape format, as originally published by Davisson in 1817. Original words by Charles Wesley, 1762. Seven more half-stanzas from Wesley's hymn included.
General Information
Title: Kedron
First Line: Thou man of griefs, remember me
Composer: Amos Pilsbury
Arranger: Ananias Davisson
Lyricist: Charles Wesley
Number of voices: 4vv Voicing: SATB
Genre: Sacred Meter: 88. 88 (L.M.) (Davisson)
Language: English
Instruments: A cappella
First published: 1816 in Kentucky Harmony, Edition 1
Description: This version is of Ananias Danisson's Garland from 1817, with Charles Wesley's original words from 1762. For another arrangement of this tune, see Kedron (William Hauser).
The tune was first published by Amos Pilsbury for four parts in his United States Sacred Harmony, 1799, without attribution. Arranged by Elkanah Dare for three parts in 1813; then by Ananias Davisson for four parts in 1816 and again in 1817, the latter as Garland (with different words by Isaac Watts, "How pleasant, how divinely fair"). It was arranged again by Alexander Johnson for four parts in 1818; this arrangement became the basis for the three-part versions in Southern Harmony, 1835 (p. 3) and The Sacred Harp, 1844 (p. 48). The complex history of this tune is discussed at length by David Music (1995); he concludes that Pilsbury arranged a folk tune obtained orally or from an unattributed manuscript.
The words Pilsbury (1799) used are the first stanza of Hymn 686 by Charles Wesley, 1762, altered; they were further altered by William Walker (1835), so that the line reads
- Thou man of grief, remember me;
- Thou never canst thyself forget
- Thy last expiring agony,
- Thy fainting pangs, and bloody sweat.
Wesley's hymn is four stanzas, each 88. 88. D (L.M.D.); Pilsbury and all successive versions of this tune have used only half of this meter, that is, 88. 88 (L.M.).
A folk hymn, derived from one or several folk songs (Jackson 1953b, No. 57).
External websites:
Original text and translations
Original text and translations may be found at Thou man of griefs, remember me.