The whole Psalter translated (1567): Difference between revisions

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==Music files==
See individual score pages for links to files:
*[[Nine Psalm Tunes for Archbishop Parker's Psalter - First Tune (Thomas Tallis)|First Tune: <i>Psalm 1</i>]]
*[[Nine Psalm Tunes for Archbishop Parker's Psalter - Second Tune (Thomas Tallis)|Second Tune: <i> Psalm 68</i>]]
*[[Nine Psalm Tunes for Archbishop Parker's Psalter - Third Tune (Thomas Tallis)|Third Tune: <i>Psalm 2</i>]]
*[[Nine Psalm Tunes for Archbishop Parker's Psalter - Fourth Tune (Thomas Tallis)|Fourth Tune: <i>Psalm 95</i>]]
*[[Nine Psalm Tunes for Archbishop Parker's Psalter - Fifth Tune (Thomas Tallis)|Fifth Tune: <i>Psalm 42</i>]]
*[[Nine Psalm Tunes for Archbishop Parker's Psalter - Sixth Tune (Thomas Tallis)|Sixth Tune: <i>Psalm 5</i>]]
*[[Nine Psalm Tunes for Archbishop Parker's Psalter - Seventh Tune (Thomas Tallis)|Seventh Tune: <i>Psalm 52</i>]]
*[[Nine Psalm Tunes for Archbishop Parker's Psalter - Eighth Tune (Thomas Tallis)|Eighth Tune: <i>Psalm 67</i>]]
*[[Nine Psalm Tunes for Archbishop Parker's Psalter - Ninth Tune (Thomas Tallis)|Ninth Tune: <i>Veni Creator</i>]]
==General Information==
==General Information==
<b>Title:</b> <i>Nine Psalm Tunes for Archbishop Parker's Psalter</i><br>
{{Title|''The Whole Psalter Translated'', also known as ''Archbishop Parker's Psalter''}}
<b>Composer:</b> [[Thomas Tallis]]
'''Citation:''' Parker, Matthew. 1567. ''The Whole Psalter Translated Into English Metre, Which Contayneth an Hundred and Fifty Psalmes''. London, John Daye. 546 pp.<br>
 
{{Descr|
<b>Number of voices:</b> 4vv&nbsp;&nbsp;<b>Voicing:</b> SATB<br>
Archbishop [[Matthew Parker]] wrote paraphrases of the entire psalter, a number of canticles and some other texts into English rhyming verse. The paraphrases were published in 1567.}}
'''Genre:''' [[:Category:Sacred music|Sacred]], [[Anthems]] <br>
{{PubDatePlace|1567|by John Daye in London.|&nbsp;}}
<b>Language:</b> [[English]]<br>
{{#ExtWeb:
{{a cappella}}
*[https://archive.org/details/whortran00park Parker, Matthew. 1567. ''The Whole Psalter Translated'' at Archive.org]
 
*[https://www.academia.edu/attachments/94741904/download_file?s=portfolio Text (not music) re-typeset by David Jensen, 2022]}}
<b>External websites: </b>
===Music Included in Publication, by [[Thomas Tallis]]===
 
{|class="wikitable" cellspacing="2" cellpadding=5px" style="border: solid 1px"
==Notes==
!style="border-bottom: 1px solid"|No.
Please note that all quotations below are given in an unmodernised form. This is deliberate - it gives a flavour of the text of the time.
!width=100 style="border-bottom: 1px solid"|Title
!style="border-bottom: 1px solid"|First Line
|-
|align="right"|1||[[Man blest no doubt (Thomas Tallis)|Psalm 1]]||Man blest no doubt
|-
|align="right"|2||[[Let God arise (Thomas Tallis)|Psalm 68]]||Let God arise
|-
|align="right"|3||[[Why fumeth in sight (Thomas Tallis)|Psalm 2]]||Why fumeth in sight
|-
|align="right"|4||[[O come in one (Thomas Tallis)|Psalm 95]]||O come in one
|-
|align="right"|5||[[When like the hunted hind (Thomas Tallis)|Psalm 42]]||When like the hunted hind
|-
|align="right"|6||[[Expend, O Lord (Thomas Tallis)|Psalm 5]]||Expend, O Lord
|-
|align="right"|7||[[Why brag in malice high (Thomas Tallis)|Psalm 52]]||Why brag in malice high
|-
|align="right"|8||[[God grant with grace (Thomas Tallis)|Psalm 67]]||God grant with grace
|-
|align="right"|9||[[Come Holy Ghost, eternal God (Thomas Tallis)|Veni Creator]]||Come Holy Ghost, eternal God
|-
|}
==Works at CPDL==
{{MultiPubList|yr,gen,subg,vo,voices|1567}}
:(Please note that all quotations below are given in an unmodernised form. This is deliberate - it gives a flavour of the text of the time.)
The quality of Parker's verse may be judged by an extract from his preface "To the reader":


===The translator===
:Accent in place: your voyce as needth,
Archbishop Parker translated the entire psalter, a number of canticles and some other texts into English rhyming verse. The translation was published in 1567. The quality of Parker's verse may be judged by an extract from his preface "To the reader":
:note number, poynte, and time:
:Both lyfe and grace: good reading breedth,
:flat verse it reysth sublime.


:Accent in place: your voyce as needth,<br>
:Obserue the trayne: the ceasure marke,
:note number, poynte, and time:<br>
:To rest with note in close:
:Both lyfe and grace: good reading breedth,<br>
:Rythmedogrell playne: as dogs do barke,
:flat verse it reysth sublime.<br>
:ye make it els to lose.


:Obserue the trayne: the ceasure marke,<br>
:Reade oft inough: well spell the lyne,
:To rest with note in close:<br>
:less iarr to heare by vse:
:Rythmedogrell playne: as dogs do barke,<br>
:If verse be rough: no fault is myne,
:ye make it els to lose.<br>
:if ye the eare abuse.


:Reade oft inough: well spell the lyne,<br>
:But princepall thing your lute to tune,
:less iarr to heare by vse:<br>
:that hart may sing in corde:
:If verse be rough: no fault is myne,<br>
:Your voyce and string: so fine to prune,
:if ye the eare abuse.<br>
:to loue and serue the Lorde.
 
:But princepall thing your lute to tune,<br>
:that hart may sing in corde:<br>
:Your voyce and string: so fine to prune,<br>
:to loue and serue the Lorde.<br>


Whether he was being consciously self-referential in his references to "flat verse" and "Rythmedogrell" is, of course, unknown.
Whether he was being consciously self-referential in his references to "flat verse" and "Rythmedogrell" is, of course, unknown.
Line 53: Line 63:
Each psalm in the psalter is preceded by a short "Argument" in verse. That for Psalm 1 is:
Each psalm in the psalter is preceded by a short "Argument" in verse. That for Psalm 1 is:


:This Psalme in sence of men both good and bad:<br>
:This Psalme in sence of men both good and bad:
:Shewth difference of men both good and bad:<br>
:Shewth difference of men both good and bad:
:It shewth their fruites their endes both glad & sad<br>
:It shewth their fruites their endes both glad & sad
:Their hartes pursuites their endes both glad & sad<br>
:Their hartes pursuites their endes both glad & sad


Each psalm is also followed by a collect. For Psalm 1 we have:
Each psalm is also followed by a collect. For Psalm 1 we have:


The Collecte.<br>
The Collecte.
:O Blessed father make vs to be as fruitfull trees before thy presence, so watered by the dewe of thy grace, that we may glorifie thee, by the plenteousnes of sweete fruite in our daily conuersation, thorough Christ our Lorde, Amen.
:O Blessed father make vs to be as fruitfull trees before thy presence, so watered by the dewe of thy grace, that we may glorifie thee, by the plenteousnes of sweete fruite in our daily conuersation, thorough Christ our Lorde, Amen.


Line 66: Line 76:
The psalms are in a number of different meters. Psalm 42 even has a bi-metrical translation:
The psalms are in a number of different meters. Psalm 42 even has a bi-metrical translation:


:Euen lyke (in chase) the hunted Hynde,<br>
:Euen lyke (in chase) the hunted Hynde,
:the water brookes: (doth glad) desire:<br>
:the water brookes: (doth glad) desire:
:Euen thus my soule: that faintie is,<br>
:Euen thus my soule: that faintie is,
:to thée (my God) would fayne aspire.<br>
:to thée (my God) would fayne aspire.


This can be sung to an 8888 tune or, by missing out the words in parentheses, to a 6686 tune like Tallis's.
This can be sung to an 8888 tune or, by missing out the words in parentheses, to a 6686 tune like Tallis's.


===Choice of tunes===
===Choice of tunes===
At the end of the psalter advice is given on matching psalms to an appropriate tune. Each psalm and each tune is given an "accent": "the sharp [acute] accent to ioyfull songes and tunes, The graue accent to sad, The circumflect accent to indifferent."
At the end of the psalter advice is given on matching psalms to an appropriate tune. Each psalm and each tune is given an "accent": "the sharp [acute] accent to ioyfull songes and tunes, The graue accent to sad, The circumflect accent to indifferent."


To quote:<br>
To quote:
:The nature of the eyght tunes.<br>
:The nature of the eyght tunes.
:~ 1 The first is méeke: deuout to sée,<br>
:~ 1 The first is méeke: deuout to sée,
:\ 2 The second sad: in maiesty.<br>
:\ 2 The second sad: in maiesty.
:\ 3 The third doth rage: and roughly brayth.<br>
:\ 3 The third doth rage: and roughly brayth.
:/ 4 The fourth doth fawne: and flattry playth,<br>
:/ 4 The fourth doth fawne: and flattry playth,
:/ 5 The fyfth delight: and laugheth the more,<br>
:/ 5 The fyfth delight: and laugheth the more,
:\ 6 The sixt bewayleth: it wéepeth full sore,<br>
:\ 6 The sixt bewayleth: it wéepeth full sore,
:\ 7 The seuenth tredeth stoute: in froward race,<br>
:\ 7 The seuenth tredeth stoute: in froward race,
:~ 8 The eyghte goeth milde: in modest pace.<br>
:~ 8 The eyghte goeth milde: in modest pace.


Nowhere does Tallis or Parker remark on the need to ensure that the tune is of the same meter as the text!
Nowhere does Tallis or Parker remark on the need to ensure that the tune is of the same meter as the text!
Line 94: Line 104:
The most obvious interpretation of that is that the tenor carries the "tune" and the other parts should be subsidiary. As a corollary, the tenor part needs to be within a comfortable congregational range.
The most obvious interpretation of that is that the tenor carries the "tune" and the other parts should be subsidiary. As a corollary, the tenor part needs to be within a comfortable congregational range.


[[Category:Sheet music]][[Category:Sacred music]][[Category:Anthems]][[Category:SATB]][[Category:Renaissance music]]
It is interesting to note that Psalme. 2. THE THIRD TUNE is the the "theme" used in Ralph Vaughan Williams's popular "Fantasia on a Theme by Thomas Tallis."
 
{{DEFAULTSORT:{{WorkSorter}}}}
[[Category:Music publications]]

Revision as of 01:59, 26 November 2022

General Information

Title: The Whole Psalter Translated, also known as Archbishop Parker's Psalter
Citation: Parker, Matthew. 1567. The Whole Psalter Translated Into English Metre, Which Contayneth an Hundred and Fifty Psalmes. London, John Daye. 546 pp.
Description:  Archbishop Matthew Parker wrote paraphrases of the entire psalter, a number of canticles and some other texts into English rhyming verse. The paraphrases were published in 1567.

Publication date and place: 1567 by John Daye in London.

External websites:

Music Included in Publication, by Thomas Tallis

No. Title First Line
1 Psalm 1 Man blest no doubt
2 Psalm 68 Let God arise
3 Psalm 2 Why fumeth in sight
4 Psalm 95 O come in one
5 Psalm 42 When like the hunted hind
6 Psalm 5 Expend, O Lord
7 Psalm 52 Why brag in malice high
8 Psalm 67 God grant with grace
9 Veni Creator Come Holy Ghost, eternal God

Works at CPDL

Title Year Genre Subgenre Vo. Voices
Come Holy Ghost, eternal God 1567 Sacred Hymns 4 SATB
Expend, O Lord 1567 Sacred Hymns 4 SATB
God grant with grace 1567 Sacred Hymns 4 SATB
Let God arise 1567 Sacred Hymns 4 SATB
Man blest no doubt 1567 Sacred Hymns 4 SATB
O come in one 1567 Sacred Hymns 4 SATB
When like the hunted hind 1567 Sacred Hymns 4 SATB
Why brag in malice high 1567 Sacred Hymns 4 SATB
Why fumeth in sight 1567 Sacred Hymns 4 SATB
(Please note that all quotations below are given in an unmodernised form. This is deliberate - it gives a flavour of the text of the time.)

The quality of Parker's verse may be judged by an extract from his preface "To the reader":

Accent in place: your voyce as needth,
note number, poynte, and time:
Both lyfe and grace: good reading breedth,
flat verse it reysth sublime.
Obserue the trayne: the ceasure marke,
To rest with note in close:
Rythmedogrell playne: as dogs do barke,
ye make it els to lose.
Reade oft inough: well spell the lyne,
less iarr to heare by vse:
If verse be rough: no fault is myne,
if ye the eare abuse.
But princepall thing your lute to tune,
that hart may sing in corde:
Your voyce and string: so fine to prune,
to loue and serue the Lorde.

Whether he was being consciously self-referential in his references to "flat verse" and "Rythmedogrell" is, of course, unknown.

Psalms: context

Each psalm in the psalter is preceded by a short "Argument" in verse. That for Psalm 1 is:

This Psalme in sence of men both good and bad:
Shewth difference of men both good and bad:
It shewth their fruites their endes both glad & sad
Their hartes pursuites their endes both glad & sad

Each psalm is also followed by a collect. For Psalm 1 we have:

The Collecte.

O Blessed father make vs to be as fruitfull trees before thy presence, so watered by the dewe of thy grace, that we may glorifie thee, by the plenteousnes of sweete fruite in our daily conuersation, thorough Christ our Lorde, Amen.

Meters

The psalms are in a number of different meters. Psalm 42 even has a bi-metrical translation:

Euen lyke (in chase) the hunted Hynde,
the water brookes: (doth glad) desire:
Euen thus my soule: that faintie is,
to thée (my God) would fayne aspire.

This can be sung to an 8888 tune or, by missing out the words in parentheses, to a 6686 tune like Tallis's.

Choice of tunes

At the end of the psalter advice is given on matching psalms to an appropriate tune. Each psalm and each tune is given an "accent": "the sharp [acute] accent to ioyfull songes and tunes, The graue accent to sad, The circumflect accent to indifferent."

To quote:

The nature of the eyght tunes.
~ 1 The first is méeke: deuout to sée,
\ 2 The second sad: in maiesty.
\ 3 The third doth rage: and roughly brayth.
/ 4 The fourth doth fawne: and flattry playth,
/ 5 The fyfth delight: and laugheth the more,
\ 6 The sixt bewayleth: it wéepeth full sore,
\ 7 The seuenth tredeth stoute: in froward race,
~ 8 The eyghte goeth milde: in modest pace.

Nowhere does Tallis or Parker remark on the need to ensure that the tune is of the same meter as the text!

Note on performance

"The Tenor of these partes be for the people when they will syng alone, the other parts, put for greater queers, or to suche as will syng or play them priuatelye."

The most obvious interpretation of that is that the tenor carries the "tune" and the other parts should be subsidiary. As a corollary, the tenor part needs to be within a comfortable congregational range.

It is interesting to note that Psalme. 2. THE THIRD TUNE is the the "theme" used in Ralph Vaughan Williams's popular "Fantasia on a Theme by Thomas Tallis."