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In association with
John Camidge (1790–1859)
MORNING SERVICE IN A
Edited by David Griffiths
JOHN CAMIDGE (1790–1859)
Morning Service in A
Edited by David Griffiths
York Early Music Press 2013
York Early Music Press (in association with the Department of Music, University of York; the Heslington
Foundation; and the York Early Music Foundation)
Department of Music
University of York
York
YO10 5DD
United Kingdom
email: [email protected]
web: www.YorkEarlyMusicPress.com
CONTENTS
Introduction ........................................................................................................................................... v
Biography .......................................................................................................................................... v
The source .......................................................................................................................................... v
Notes on performance ....................................................................................................................... vi
Acknowledgements…………………………………………………………………………………ix
Te Deum ................................................................................................................................................. 1
Jubilate ................................................................................................................................................. 26
Editorial method ................................................................................................................................. 33
Notes on the Textual commentary ..................................................................................................... 34
Textual commentary ........................................................................................................................... 35
INTRODUCTION
Biography
John Camidge, the first child of Matthew Camidge and his wife Elizabeth, was born on 11 August
1790 and baptized at the church of St. Mary, Castlegate, York, on 14 September of that year.1 His
father was a musician who in 1799 became organist of York Minster, a position he held until 1842
and one which his paternal grandfather had occupied from 1756 to 1799. John’s maternal grandfather,
Joseph Shaw, was also a musician.2 It would seem that John was something of a musical prodigy and
he made what was probably his first public performance, on the piano and violin respectively, in 1798
at the age of seven. He was a noted instrumentalist throughout most of his life, playing concertos on
both piano and violin at concerts held in York between 1805 and 1828, having a fine reputation as an
organist too. He probably received musical instruction, especially in his early years, from his father
and perhaps his grandfathers too, and was later taught by Feliks Janiewicz, a Polish violinist and
composer, resident in England from 1792, and Charles Hague, a native of nearby Tadcaster, and
professor of music at the University of Cambridge from 1799 until his death in 1821.3 In 1812 John
took the degree of Mus.B. at the latter institution and seven years later that of Mus.D. He was paid as
Assistant Organist at York Minster from 1820 to 1842 when, on the resignation of his father Matthew,
he was appointed Organist, a post he occupied until 1858, a year before his death. From the end of
1850 onwards he was unable to officiate at the organ because of a paralysis of his right hand.
The source
The bibliographical details of John Camidge’s Cathedral Music are as follows:
Cathedral Music. / Consisting of / a Te Deum, Jubilate, Cantate, Deus Misereatur, / Magnificat
and Nunc Dimittis, / also / Six Arrangements of the Sanctus & Miserere, / Four Anthems and
Fifty Double Chants, / the Whole in Score for Voices with an Arranged part / for the / Organ or
Piano Forte, / Composed, and with the greatest deference Dedicated / (by Permission) / to / His
Grace the Lord Arch Bishop of York, / by John Camidge Mus. Doc. / Ent. at Sta. Hall. To
Subscribers one Guinea. Price L 1. 11. 6 / London, Published by Preston, 71, Dean Street,
Soho. / and to be had of Dr. Camidge, Manor House, York.
[vii], 2–146 pp.
1The Parish Register of St. Mary, Castlegate, York. Vols. II, III & IV, 1705–1837. The Publications of the Yorkshire
Archaeological Society, Parish Register Section, 136 ([Leeds]: Yorkshire Archaeological Society, 1972), p. 138. 2 An account of the musicians in the Camidge family can be found in David Griffiths, The Camidges of York: Five
Generations of a Musical Family. Borthwick Papers, 118 (York: Borthwick Institute for Archives, 2010). For other
information about John Camidge see The New Grove Dictionary of Music and Musicians, 2nd edn, s.v. ‘Camidge,’ by
Nicholas Temperley; Die Musik in Geschichte und Gegenwart, 2te Ausg., s.v. ‘Camidge,’ by Anthony Ford; and The Oxford
Dictionary of National Biography, s.v. ‘Camidge, John, the Younger,’ by D. J. Golby. 3 York Courant, 6 April 1807, 21 March 1808, 28 November 1808; John Crosse, An Account of the Grand Musical Festival,
held in September, 1823, in the Cathedral Church of York (York: Wolstenholme, 1825), p. 103.
vi
An advertisement in the York Herald of 24 July 1830 announced that “Dr. Camidge’s Cathedral
Music … will be published in the early part of August,” and on 11 November of that year York
Minster paid ten guineas (the subscribers’ price) for ten copies.4 It can be concluded that the work was
published between these two dates. The ‘Very Rev. the Dean and the Ven. Chapter of York’ are listed
among the names of people and institutions who subscribed to 465 copies, along with the cathedrals
of Canterbury, Carlisle, Chester, Durham, Ely, Gloucester, Lincoln, Norwich, Ripon, Salisbury, and
Wells. The work contains, in addition to the Morning Service in A, an Evening Service in A
(comprising a Cantate Domino and Deus misereatur), an Evening Service in E flat (comprising a
Magnificat and Nunc dimittis), and four anthems: ‘Fret not thyself’; ‘Holy, holy, holy, Lord God of
hosts’; ‘I will cry unto God’; and, ‘Sing unto the Lord’.5
This edition of the Morning Service, which has been transcribed from a copy of Cathedral
Music in the British Library, has not been collated with other copies of the work which are known to
exist, and which are located in the following libraries:
U. K. Belton House (National Trust); Leeds Central Library [i.e., Leeds Public
Library]; Royal College of Music Library (2 copies); University of Birmingham
Library; University of Cambridge Library; University of Glasgow Library;
University of Leeds Library; University of London Library (Senate House);
University of Oxford (Faculty of Music Library); University of York Library;
York Minster Library (5 copies, of which three only are listed in the printed and
online catalogues).
U. S. Newberry Library (Chicago); University of Pittsburgh Library
The date of composition of the Morning Service in A is not known, but it was sometime before 14
October 1815, by which date the tenor part had been copied into a part-book belonging to York
Minster choir, now located in York Minster Library with shelf-mark M 169. The present edition has
not been collated with this manuscript source because of the current difficulties with regard to access.
It remains to mention that the work was included in a list of the services performed at York Minster in
the early 1820s.6
Notes on performance
Camidge’s Morning Service in A would have been performed at matins at York Minster at the
following times, as recorded by Baines seven years before the publication of Cathedral Music.7
The cathedral service [i.e., Morning Prayer] is performed in the choir at ten o’clock in the
forenoon, when an anthem is sung, unless there be a sermon or litany <…> On Sunday the
service commences at ten o’clock in the morning, when a sermon is preached <…>. On
Wednesdays and Fridays in Advent and Lent, and during the whole of Passion week, the choral
service and singing are intermitted both morning and evening.
4 York Minster Library, Dean and Chapter of York, St. Peter’s account, E2/25. 5 The Evening Service in E flat was published by the York Early Music Press in 2012.
6 Quarterly Musical Magazine and Review 6 (1824): 26.
7 Edward Baines, History, Directory & Gazetteer, of the County of York. Vol. II. East and North Ridings (Leeds: Leeds
Mercury Office, 1823), p. 40.
vii
For almost all of the period between 2 February 1829 (the date of the great fire at York Minster) and 4
May 1832 (the date when services in the Minster resumed) the ‘cathedral service’ was held in the
adjacent church of St. Michael-le-Belfrey.8
The organ
Whereas the title-page of Cathedral Music indicates that the vocal music is in score and that there is
‘an Arranged Part / for the / Organ or Piano Forte’, the accompaniment to the Morning Service in A
has a two-stave part marked ‘Organo’; and it will be the organ which will have accompanied
performances of this work in York Minster. It may be of interest here to say a little about the
specification of the organ there, as John Camidge will have known it, in the time before its destruction
in the great fire of 1829. The instrument had been reconstructed in 1803 by Benjamin Blyth, the
foreman of Mrs. Green who carried on her husband’s business of organ building after his death in
1796.9
Great organ Choir organ Swell organ
GGG long to eee GGG long to eee tenor F to eee
Open Diapason Dulciana Open Diapason
Open Diapason Stop Diapason Stop Diapason
Open Diapason Principal Dulciana
Stop Diapason Flute Principal
Principal Fifteenth Dulciana Principal
Nason Bassoon Trumpet
Twelfth Hautboy
Fifteenth Cornet III
Sesquialtra III
Mixture III
Trumpet
Clarion
Cornet IV
Further additions and modifications were made to the Minster organ by John Ward, a local organ
builder, between 1821 and 1824 for which he was paid by the Dean and Chapter £1195.8.0., and more
work was done in 1828, for which he was paid £121.6.0.10
The organ, as it existed immediately before
the great fire of 2 February 1829, was described shortly afterwards in the York Herald, from which
account the specification below is taken:11
The Great Organ.—Three open diapasons, metal; stop do., do.; principal; twelfth; fifteenth;
sesquialter, 3 ranks through the organ; flute, or nason; mixture four ranks through the organ;
trumpet; clarionet; and cornet, 5 ranks.
The Choir Organ.—One stop diapason, metal to middle C. carried down with a wood bass; do.
wood; principal; flute; dulciana; open diapason; octave flute; and sesquialter, 3 ranks.
The Nave Organ.—Two open diapasons, metal; 1 stop do.; principal, metal; twelfth; fifteenth;
sesquialter, 4 ranks; harmonica; octave flute; trumpet; and bassoon.
8 York Herald, 5 May 1832. 9 The specification quoted here is that which appears in James Boeringer, Organa Britannica: Organs in Great Britain,
1660–1860: a complete edition of the Sperling notebooks and drawings in the Library of the Royal College of Organists
(Lewisburg: Bucknell U. P., 1989), vol. 3, p. 354. The York Courant (1 August 1803) noted that the organ by that date was
‘now finished and set up in the cathedral’. 10 York Minster Library, Dean and Chapter of York, St. Peter’s account, E2/25. 11 York Herald, 28 February 1829.
viii
The Swell comprised two open diapasons, 1 wooden and 4 [sic] metal; 1 stop do. metal;
principal; cornet, 4 ranks; trumpet, and oboe.
The Pedals.—Two double diapasons, wood, of a large size; 2 open diapasons, wood; 2 stop
diapasons, on a large scale; 2 principals, wood; two 24 feet sackbuts, with reed stops; two 12
feet trombones, with reed stops; and 1 shawm, with a reed stop.
Summary Stops
Great Organ, from FFF to F in alt 13
Choir Organ, ditto 8
Nave Organ, ditto 11
Swell, from FF to F in alt 7
Pedals, up to C. 19 notes 13
Total 52
The history of the York Minster organ in the period from 1802 to 1853 has been summarised in a
recent work.12
The instruction ‘Diapasons’, in bar 149 of the Te Deum, is the sole indication of organ
registration in the Morning Service in A. In bars 17, 86, 193, 229, 231, 238, 243, 277, 288, and 292 of
the Te Deum and in bars 1, 15, and 79 of the Jubilate, is the direction ‘Ped:’, which is ambiguous in
that, as the title-page of Cathedral Music refers to an ‘Arranged part for the Organ or Piano Forte’, it
could refer to the latter and not the former instrument. More probable, however, is that the instruction
‘Ped.’ is indeed for the organ; and the likelihood is that, when accompanying the Morning Service in
A in York Minster, John Camidge would have used the pedals—and perhaps to an extent wider than
that specified in the score—given that his playing of them, according to a report of the Yorkshire
Musical Festival held in York Minster in 1825, was quite remarkable:13
—his management of the pedals was really surprising, and nothing short of the most constant
and severe practice could have enabled him to manage them in the chorusses as he did, to the
production of very sublime effects, preserving at the same time, the steadiest correspondence
with the voices, and leading off the points of the chorusses with admirable precision.
Sometimes the instruction for the use of the pedal is combined with that of the octave sign thus: ‘Ped:
8vi’, ‘Pedal 8vi’, or ‘Pedale 8vi’. Peter Horton has noted that this usage is to be found in the church
music of S. S. Wesley, where there is a similar ambiguity in meaning.14
The choir
In the first half of the 1810s, when the Morning Service in A was probably composed, the choir of
York Minster consisted of eight singing boys, seven songmen, and five vicars choral.15
It is likely that
the importance to the choir of the vicars choral was diminishing in the first two decades of the
nineteenth century, but an attestation of their musical contribution, quoted below, is provided by John
Camidge’s son, Thomas Simpson:16
12 Nicholas Thistlethwaite, The Making of the Victorian Organ (Cambridge: Cambridge U. P., 1990), pp. 118–127. 13 Harmonicon 3 (1825): 185. 14
Samuel Sebastian Wesley, Anthems; edited by Peter Horton. Vol. I. Musica Britannica, 67 (London: Stainer and Bell,
1990), p. xxv. 15 York Minster Library, Dean and Chapter of York, St. Peter’s account, unsorted vouchers, E2 PV. 16 York Herald, 18 March 1908, p. 3.
ix
In those days, 1700 to long after 1756, the custom was to have the organist and lay vicars
licensed and properly installed as was the rule with all parish clerks up to a very recent period.
But the singing men, otherwise lay clerks, were only required to sing the chorus of anthems, as
only the ordained vicars choral were permitted to sing the solos, consequently the ordained
vicars choral were the real singers and the lay vicars choral, who now do all the choral work of
the cathedral anthems, had to be examined by the organist of the cathedral as in York. Thus the
late Rev. William Bulmer [vicar choral, 1801–1852] was appointed as vacant bass, and Rev.
W. Richardson [vicar choral, 1771–1821] tenor, and so on; Rev. Forrest [vicar choral, 1780–
1829], bass – then maintaining alto; Rev. J. Bridges [vicar choral, 1741–1784], tenor and bass
solo singer. This I know from my grandfather Matthew Camidge.
The vocal ranges of the Morning Service in A are as follows: treble c' –a'', alto e–b', tenor c –
g' , bass F–e'.17
Very little is known of the performance practice of cathedral music in the first half of
the nineteenth century, but it can be safely said that modern-day performers could, with the necessary
propriety, add ornaments to solo vocal passages. The following statement made by James Valentine
Cox, a chorister and lay clerk at Norwich Cathedral, concerning such ornamentation used in
performances there in the 1840s, probably has more than a local application.18
… everything was done in the most florid style, viz., grace notes, cadenzas, ‘shakes’ (single,
double, and triple), while time was not much considered. Indeed, some of the treble solos were
nearly sung ad libitum … In the anthems I have heard three boys making ‘shakes’
simultaneously, and not only the boys but the lay-clerks used to ‘shake’ most extensively.
There was one lay clerk—Mr. William Smith—who had a good ‘shake’, so he was requested
not to forget it at the service, as the ladies admired it. I have known him begin a solo with an
elaborate ‘shake’ and end with one—besides introducing two or three in the middle of the
anthem.
Acknowledgements
I should like to thank the British Library for access to their copy of John Camidge’s Cathedral Music,
and Jonathan Wainwright for his help and advice in the preparation of this edition.
17 Pitch names are given in the Helmholtz system: C–B, c–b, c'–b', c''–b'' (c' = middle C). 18 F. C. Kitton, Zechariah Buck … a Centenary Memoir (London: Jarrold,1899), p. 24; quoted in Watkins Shaw, The
Succession of Organists of the Chapel Royal and the Cathedrals of England and Wales from c.1538 (Oxford: Clarendon P.,
1991), pp. 205–206.
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JOHN CAMIDGE (1790–1859)
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32
S.
A.
T.
B.
Org.
37
S.
A.
T.
B.
Org.
&
##
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∑
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To thee Che ru- bin-
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and Se ra- phin:-
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41
S.
A.
T.
B.
Org.
47
S.
A.
T.
B.
Org.
C
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&
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Ho
FULL
ly,- Ho ly,-Ho ly:- Lord God of Sa ba- oth;-
∑
&
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FULL
ly,- Ho ly,- Ho ly:- Lord God of Sa ba- oth;- Heav'n and earth are
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52
S.
A.
T.
B.
Org.
59
S.
A.
T.
B.
Org.
C
C
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3
2
3
2
3
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3
2
3
2
3
2
&
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glo ri- ous- com pa- ny- of the A pos- tles- praise thee. The good ly-
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8vi
&
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fel low- ship:- of the Pro phets- praise thee.The no - ble ar my- of Mar tyrs:- praise
U
thee.
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&
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fel low- ship:- of the Pro phets- praise thee.The no ble- ar my- of Mar tyrs:- praise
U
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Allegro
66
S.
A.
T.
B.
Org.
71
S.
A.
T.
B.
Org.
3
2
3
2
3
2
3
2
3
2
3
2
&
##
##
The
CHORUS
f
ho ly- Church through out- all the world: doth
2nd Treble
ac know- ledge- thee;
doth
1st Treble
ac know
the
- ledge-
&
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CHORUS
f
ho ly- Church through out- all the
Ÿ
world: doth ac know- ledge-
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8vi
&
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thee;
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the
n
Fa ther- of an
1st & 2nd Treble
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8vi
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7
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77
S.
A.
T.
B.
Org.
82
S.
A.
T.
B.
Org.
&
##
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on ly- Son;
∑ ∑
Al so- the
&
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on ly- Son; Al so- the Ho ly- Ghost: the Com fort- er,- the
&
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8vi
&
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Ho ly- Ghost: the Com fort- er,- the Ho ly- Ghost: the Com fort- er,- the Com fort- er,-
al
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&
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87
ritard.
ritard.
S.
A.
T.
B.
Org.
91
S.
A.
T.
B.
Org.
&
##
##
so
so the Ho ly-
the
Ghost: the
Ho
Com fort- er,-
ly
the
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Ho ly- Ghost:
the
the
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fort
fort
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er.
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&
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so the Ho ly- Ghost: the Com fort- er.-
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&
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so the Ho ly- Ghost: the Com fort- er,- the Ho ly- Ghost: the Com fort- er.-
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so the Ho ly- Ghost: the Com fort- er.-
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n
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&
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#CHORUS
∑ ∑ ∑ ∑ ∑
&
##
#CHORUS
∑ ∑ ∑ ∑
Thou art the King of
&
‹
##
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∑ ∑
Thou art the King of glo ry,- thou art the King of
?##
#
Thou
CHORUS
f
art the King of glo ry,- thou art the King of glo ry,- thou art the King of
&
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∑ ∑ ∑ ∑ ∑
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f
8vi
wœ ™ œ
J
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96
S.
A.
T.
B.
Org.
101
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A.
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B.
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∑
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112
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130
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A.
T.
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Org.
Allegro
Allegro
136
S.
A.
T.
B.
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&
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&
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op en- the king dom- of heav'n to all be liev- ers,- to all be liev- ers.-
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thou did'st op en- the king dom- of heav'n to all be liev- ers.-
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cresc.
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Thou
CHORUS
sit test- at the right hand, the right hand of God: in the glo ry,-
&
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CHORUS
Thou sit test- at the right hand of God: in the glo ry- of the Fa ther,- in the
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Thou sit test- at the right hand of God: in the glo ry- of the Fa ther,- in the
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143
S.
A.
T.
B.
Org.
Slow
Slow
149
S.
A.
T.
B.
Org.
&
##
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in the glo ry,- in the glo ry,- in the glo ry- of the Fa ther.-
nn
nn
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We
p
be
(Both Sides)
lieve- that thou shalt come to be our Judge.
∑
U
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p
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&
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p
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∑
U
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&
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∑
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Diapasons
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159
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A.
T.
B.
Org.
167
S.
A.
T.
B.
Org.
&
thou shalt come to be our Judge, to
dim.
be our Judge, to
pp
be our Judge. We there fore-
&
thou shalt come to be our Judge, to
dim.
be our Judge, to
pp
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&
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pp
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thou shalt come to be our Judge, to
dim.
be our Judge, to
pp
be our Judge.We there fore-
&bb
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dim.
pp
8vi
&
pray thee help thy ser vants,- we there fore- pray thee help thy ser vants,- we there
cresc.
fore- pray thee
&
pray thee help thy ser vants,- we there fore- pray thee help thy ser vants,- we there
cresc.
fore- pray thee
&
‹pray thee help thy ser vants,- we there fore- pray thee help thy ser vants,- we there
cresc.
fore- pray thee
?
pray thee help thy ser vants,- we there fore- pray thee help thy ser vants,- we there
cresc.
fore- pray thee
& nb
nb
n n #
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cresc.
8vi
cresc.
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15
°
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174
S.
A.
T.
B.
Org.
182
S.
A.
T.
B.
Org.
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
&
help thy
cresc.
ser vants:- whom thou hast re deem
f
- ed- with thy pre cious- blood.
##
#
&
help thy
cresc.
ser vants:- whom thou hast re deem
f
- ed- with thy pre cious- blood.
##
#
&
‹help thy
cresc.
ser vants:- whom thou hast re deem
f
- ed- with thy pre cious- blood.
##
#
?
help thy
cresc.
ser vants:- whom thou hast re deem
f
-
¿
ed- with thy pre cious- blood.
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cresc.
n
n
f
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Make
DUETT
p
them to be num ber- ed- with thy Saints: in glo ry,- in
&
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p
. . . . . .
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˙ œ œb œ œ œ œ ˙ ™ œ ˙˙ ˙ ˙ ˙ ™
œ w ˙#Ó
˙ ˙ œ œ œ œ ˙n œ œ˙#
˙ ˙ ˙ ˙ œ# œ#w ˙ Ó
˙b œ œ œ# œ œ œ ˙n ™ œ ˙œ#œ
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186
S.
A.
T.
B.
Org.
190
S.
A.
T.
B.
Org.
C
C
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glo ry- ev er- last- ing,- in
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∑
O
f
Lord, save thy peo ple:-
∑
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O
CHORUS
f
Lord, O Lord, save thy peo ple:-
∑
&
‹
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#
O
CHORUS
f
Lord, O Lord, save thy peo ple:- and
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#
O
CHORUS
f
Lord, O Lord, save thy peo ple:- and bless thine
&
##
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f
8vi
¿Pedal 8vi
˙˙
˙˙
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œ
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œ ™ œ
J
œ œ œ œ ˙œ œ œ œ ˙
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˙
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Ó
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œ
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œ
œ
œ
œ
œ
˙
˙
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˙˙
˙œ
Jw
˙
˙ Ó
Ó Ó
œ
œ
œ
œ
˙
˙
˙
˙˙
˙
˙
˙ ˙
˙w
Ó
˙˙ ˙ ˙# ˙ œ Œ
˙˙
˙
˙ ˙ ˙ ˙ œ
Œ
˙ ˙ ˙ ˙˙
˙ ˙ œŒ Ó ˙
˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ˙ œ ™ œ
j
˙ ˙˙
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17
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195
S.
A.
T.
B.
Org.
201
S.
A.
T.
B.
Org.
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
&
##
#
∑∑
and bless,
and
and
bless
bless
thine
thine
he
he
ri
ri
#
-
-
tage.
tage.
-
-
#
&
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#
and bless thine he ri- tage,- thine he ri- tage.-
#
&
‹
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bless thine he ri- tage,- and bless thine he ri- tage.-
#
?##
#
he ri- tage,- thine he ri- tage,- thine he ri- tage.-
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&
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# n #
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8
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&
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VERSE
∑ ∑
Gov
p
ern- them:
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VERSE
∑ ∑ ∑ ∑
&
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Gov
VERSE
p
ern- them:
∑
and
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Gov
VERSE
p
ern- them:
∑
and
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∑ ∑
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p
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J
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Ó
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j˙n ˙ ˙ ˙n ˙ ˙ ˙
Ó
˙ œ ™ œ
J
˙#˙
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J
˙ ˙ ˙ ˙ ˙Ó
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˙Ó
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J
˙
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œ
j˙
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w Ó
˙ ˙ ˙ w Ó ∑˙
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w Ó
w ™
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Ó
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18
°
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{
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205
S.
A.
T.
B.
Org.
210
S.
A.
T.
B.
Org.
C
C
C
C
C
C
&
#
∑
and lift them up, and lift them
&
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∑ ∑ ∑ ∑ ∑
&
‹
#
lift them up for
3
ev er,-
∑
and
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lift them up for ev er,-
∑
and
&
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∑
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legato
cresc.
∑
&
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up for ev er,- for ev er,- and lift them up for ev - er.
##
&
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&
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lift them up for ev er,- and lift them up for ev er.-
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lift them up for ev er,- and lift them up for ev er.-
##
&
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#
cresc.
f
##
Ó Ó
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J
˙˙
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J
˙˙ Ó
w˙# ˙
˙ ˙ ˙˙ ˙ œ ™ œ
j˙
˙˙ ˙ Ó
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˙#˙
œ ™ œ
j˙
˙
˙
˙Ó
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w ™˙ ˙
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J
˙˙˙
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j
˙˙
˙ Ó
w
˙˙
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w
wÓ
19
°
¢
{
°
¢
{
215
S.
A.
T.
B.
Org.
224
S.
A.
T.
B.
Org.
C
C
C
C
C
C
&
##
Day
CHORUS
by day:
∑
And we wor ship- thy Name ev er.- Day by
&
##
Day
CHORUS
by day: we mag ni- fy- thee. And we wor ship- thy Name ev er.- Day by
&
‹
##
Day
CHORUS
bv day: we mag ni- fy- thee. And we wor ship- thy Name ev er.- Day by
?##
Day
CHORUS
by day: we mag ni- fy- thee. And we wor ship- thy Name ev er.- Day by
&
##
CHORUS
?##
f
8vi
&
##
day: we mag ni- fy- thee,world with out- end,world with out- end,world with out- end,world with out- end,world
&
##
day: we mag ni- fy- thee,world with out- end,world with out- end,world with out- end,world with out- end,world
&
‹
##
day: we mag ni- fy- thee,world with out- end, world
?##
day:
∑
world with out- end,world with out- end,world with out- end,world with out- end,world
&
##
?## ∑
Ped: 8vi
˙˙
˙˙
˙ ™
˙ ™ Œ
Œ
Ó
Ó œ
œ
œ
œ
˙
˙˙˙ ˙̇
˙˙ w
w ˙˙
Ó
Ó ˙
˙˙˙
˙ ˙ ˙ ™ œ œ œ œ œ ˙ œ œ ˙ œœ ˙ ˙ w ˙
Ó˙ ˙
˙ ˙ ˙ ™ œ œ œ ˙ ˙ œ œ ˙ ˙ ˙˙ w ˙ Ó ˙ ˙
˙ ˙ ˙ ™ œ œ œ œ œ ˙ œ œ ˙˙ ˙
˙w
˙
˙
Ó ˙ ˙
˙˙˙
˙˙̇˙
˙˙˙˙
™™™™
œ œ œ œœ œœ ˙
˙
œ
œœ
œ
œœ
˙
˙˙
˙
˙˙
˙˙˙
˙˙˙˙
www
˙˙˙ Ó
˙
˙̇˙˙˙
˙
˙
˙
˙
˙
˙
™
™ œœ
œœ œœœœœ
œ
˙
˙
œ
œ
œ
œ
˙
˙
˙
˙
˙
˙
˙
˙w
w
˙
˙Ó ˙ ˙
˙ ™˙ ™
œœ
œœ
œœ
œ˙
œ œ
œœ
Œ
œ
Ó
œ œ
Œœœ
œœ
œ
œ œ
œ
œ
Œ
œ
Ó
œ œ
Œœœ
œœ
œ
œ
˙
˙
˙˙
˙ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙
˙ ™œ œ œ œ œ œ
œ œ œ w w w ˙
˙
˙ ™ Œ Œœ œ œ œ
œ œ œ œœ œ œ œ
œ œ œ ˙ ˙
˙˙̇˙
™™™™œœœœ
œœ
œœœœœœœ
œœ
œ
œ
œœœ
œ
œ
œœ
œœœ
œœœ
œœœœ
œœœœ
œ˙ ™
œ
œ
œ œ
œœ
œœ œ
œ œœ
œœœ
œ˙ ™
œ
œ
œ ˙
˙˙
˙˙
˙
˙ ™ Œ Œœ œ œ
œ œœ
œ
˙ ™
œ œ
œ
œ
˙ ™œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙ ™
œ œ
˙
˙
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20
°
¢
{
°
¢
{
231
S.
A.
T.
B.
Org.
238
S.
A.
T.
B.
Org.
&
##
with out
#
- end. And we wor ship- thy Name: ev er- world with out- end,
∑
&
##
with out- end, world with out- end: ev er- world with out- end, and we wor ship- thy
&
‹
##
with out- end, world with out- end: world with out- end, and we wor ship- thy
?##
with out- end, and we wor ship- thy
&
##
n
?##
Ped:
8vi
&
##
ev er- world with out- end,
∑
we
&
##
Name: ev er- world with out- end, we wor ship- thy Name, we
&
‹
##
Name: world with out- end, we wor ship- thy Name, we
?##
Name: we wor ship- thy Name, we
&
##
?##
Ped:
˙̇ ˙̇ ˙̇œœ
œœ œ
œœœ ˙
˙ ˙̇ œœ œœ œœ œœ ˙̇ ˙̇Ó
Ó
˙ ˙ ˙
Ó Œ
œ œ œ# ˙œ œ œ
œ œœ ˙
œ œ œ œ ˙
˙˙ ˙ Ó Œ œ œ
œ ˙ Ó Œ
œ œ œ# ˙œ œ œ
œ œ œ
˙ ˙ w w w w ˙
œn œ œ œ ˙
˙˙˙
˙˙̇
# ˙˙˙
œœ
œœ
Œ
˙˙
œ
˙˙
œ œ#˙˙
œœœ
œœœ
˙˙˙
˙̇
˙
˙˙˙
˙˙
˙
˙
˙
œœ
˙œœœœ
w˙
˙˙˙
w
w
w˙ Ó
w
w
w
w
w
w
w
w
œœ œ œ# ˙
˙ ˙
˙n
n ˙
˙
˙
˙
Ó
œ œ œ œ ˙ ˙Ó
Ó
Ó˙̇
˙œ œ œ œ ˙ ˙ ˙ œ œ ˙ ˙ ˙
w œœ œ œ ˙
˙œ œ ˙ ˙ ˙
w w ˙ ˙ œ œ
œ
œ
œ
œ
œ
œ ˙
˙
˙
˙
˙˙
œœœ
œœœ
˙˙˙
˙
˙̇˙˙˙
˙
˙ ˙˙
˙
˙˙
˙˙
˙
˙˙˙
w
w
w
wœ
œ œ œ ˙
˙
˙
˙˙ w
˙ œ˙
˙
˙
˙˙
œ œ
21
°
¢
{
°
¢
{
243
S.
A.
T.
B.
Org.
Slow
Slow
250
S.
A.
T.
B.
Org.
C
C
C
C
C
C
C
C
C
C
C
C
&
##
wor ship- thy Name: ev
I
er
I
- world with out- end.
&
##
wor ship- thy Name: ev
I
er
I
- world with out- end.
&
‹
##
wor ship- thy Name: ev
I
er
I
- world with out- end.
?##
wor ship- thy Name: ev
I
er
I
- world with out- end.
&
##
?##
Ped: 8vi
&
##
VERSE
Vouch
p
safe,- O Lord: to keep us this day with out- sin,
I
vouch
>
safe,
I
- vouch
>
safe,- O
&
##
VERSE
Vouch
p
safe,- O Lord: to keep us this day with out- sin,
I
vouch safe,
I
- vouch safe,- O
&
‹
##
VERSE
Vouch
p
safe,- O Lord: to keep us this day with out- sin,
I
vouch safe,
I
- vouch safe,- O
?##
VERSE
Vouch
p
safe,- O Lord: to keep us this day with out- sin,
∑ ∑
&
##
?##
p
legato
∑ ∑
œœ
œœ
˙˙
w
w˙˙
˙˙
ww
˙˙
˙˙
ww
˙˙
Ó
Ó
œ œ ˙ w ˙ ˙ w ˙˙ w ˙
Ó
œ œ ˙ w ˙ ˙ w ˙
˙ w ˙Ó
œ œ ˙ w ˙
˙w ˙ ˙
w ˙ Ó
œœœœ
œœœœ
˙˙˙ w
ww ˙˙˙
˙˙˙˙
wwww
˙˙˙
˙˙̇˙
wwww
˙˙˙˙
Ó
œœœ
œœœ
˙˙˙
www
˙˙˙
˙˙˙
www
ww
w
w
www
˙
˙˙˙
Ó
Ó˙ ˙ ˙
˙# ˙ ˙n œ œ œ ™ œ
j
˙ ˙œ ™ œ
j
˙
˙ ˙˙
Ó ˙ ˙ ˙ ˙ ˙˙ œ œ œ ™ œ
j
˙ ˙
˙ ˙˙ ˙ œ ˙
Ó
˙ ˙ ˙ ˙ ˙˙ œ œ œ ™ œ
J
˙ ˙ ˙ ˙˙ ˙
˙
Ó ˙˙ ˙
˙ ˙˙ œ œ
œ ™ œ
j
˙# ˙Ó
Ó˙˙˙
˙˙˙
˙˙
˙
˙˙˙#
˙˙
˙
˙
˙˙n œ
˙˙
œ œ ™ww
œ
j
˙˙˙
œ ™˙˙
œ
j
˙˙
˙˙
˙ ˙̇˙
˙˙̇
˙
˙
˙
˙ ˙˙ ˙
˙ ˙˙ ˙
˙
˙
˙
˙#
#
˙
˙Ó
22
°
¢
{
°
¢
{
258
S.
A.
T.
B.
Org.
266
S.
A.
T.
B.
Org.
&
##
Lord, vouch safe,- O Lord: to keep us this day with out- sin.
I
O
p
Lord, have
&
##
Lord, vouch safe,- O Lord: to keep us this day with out- sin.
I
O Lord,
&
‹
##
Lord, vouch safe,- O Lord: to keep us this day with out- sin.
I
O Lord,
?##
vouch safe- to keep us this day with out- sin.
I
O Lord,
&
##
?##
&
##
mer cy,-
∑
O Lord, let thy mer cy- light en- up -
&
##
have mer cy- up on- us. O Lord, let thy mer cy- light en- up -
&
‹
##
have mer cy- up on- us. O Lord, let thy mer cy- light en- up -
?##
have mer cy- up on- us. O Lord, let thy mer cy- light en- up -
&
## ∑
?##
#
#
#
˙˙ œ œ
˙ ˙
˙ œ œ œ œ ˙ ˙ ˙ œœ™™œœ
j
˙˙
Ó Óœœ™™œœ
j
˙˙ ˙ ˙ ˙ ˙ œ
œœ œ ˙ ˙ ˙
Ó Ó
œ ™ œ
j
˙
Ó
˙
˙ ˙
˙ ˙˙ œ œ œ œ ˙ ˙ ˙
Ó Ó
œ ™œ
j
˙
Ó
Ó˙ ˙
Ó Ó
˙ œ œ œ œ ˙ ˙˙ Ó Ó
˙˙ Ó
˙˙
˙ ˙
˙
˙
œ œ
˙˙ ˙̇
˙
˙ œ
˙
œ œ˙˙
œ˙˙
w˙˙
˙˙ œ
œ™™œœ
j
˙˙
Ó Óœœ™™œœ
j
Ó
˙
˙˙
˙
˙˙
˙ ˙
˙
˙ w
˙ ˙
˙w
˙ ˙˙ Ó
Ó
Ó œœ™™
˙œœ
j
˙˙ Ó
œœ
œœ
Ó Ó ˙ ˙ œ œ˙ ˙ œ œ ˙
Ó
œ ™ œ
j
œ œœ œ œ œ
˙ ˙ œ œ˙ ˙
œ œ œ
œ
Óœ ™
œ
j
œ œœ œ œ œ
˙ ˙ œ œ˙ ˙ œ œ œ
œ
Ó
˙
˙
œ œ# œ œ ˙˙
œ œ ˙ ˙œ# œ œ
œ
œœ
œœ
Ó Ó
˙˙˙
˙˙
˙ ˙˙˙
˙˙˙
˙˙
˙ œ˙
˙
œ
˙˙˙
Ó
Ó
˙
œœ™™
œœ
j
œœ
˙œœ
œœ
œ
œœ
œ
œœ
˙œœ
˙˙
˙
˙
˙
˙
˙ ˙
˙
˙
˙˙
˙w
˙
œœ
23
°
¢
{
°
¢
{
272
S.
A.
T.
B.
Org.
Slow
Slow
277
S.
A.
T.
B.
Org.
c
c
c
c
c
c
c
c
c
c
c
c
&
##
on us:
I
as our trust is in thee, as our trust is in thee.
U
##
#
&
##
on
-
us:
I
is in thee, is in thee.
U ##
#
&
‹
##
on- us:
I
is in thee, is in thee.
U##
#
?##
on- us:
I
is in thee, is in thee.
U##
#
&
##
I U
##
#
?##
I
u
U
##
#
&
##
#
O
CHORUS
Lord, in thee, in thee have I trust ed,
I
- in thee, in thee, in
&
##
#
O
CHORUS
Lord, in thee, in thee have I trust ed,
I
- in thee, in thee, in
&
‹
##
#
O
CHORUS
Lord, in thee, in thee have I trust ed,
I
- in thee, in thee, in
?##
#
O
CHORUS
Lord, in thee, in thee have I trust ed,
I
- in thee, in thee, in
&
##
#
?##
#
Ped: 8vi
CHORUS
#
œ œ œœ
œœ
˙˙
œœ œ
œ ˙˙
œœ
œœ ˙
˙œœ œ
œ˙˙
˙˙#
œ œ#Ó Ó
œ œ ˙
Ó Ó
œ œ ˙ ˙
œ œÓ Ó œ œ ˙ Ó Ó œ œ ˙ ˙#
œ œ Ó Ó œ œ# ˙Ó Ó œ œ# w
œœ
˙œœ# œ
œ œœ ˙
˙œœ œ
œ ˙˙
œœ
œœ
˙˙
œœ œ
œ ˙˙
˙˙#
œœ
œ
œ Ó Ó
œœ
œ
œœ
œ#
˙˙˙
Ó Ó
œœ
œ
œœ
œ#
˙˙
w˙˙#
w ˙ ˙ w ™ ˙# ˙˙ ˙
˙ ˙ ˙ ˙ ˙ w∑
˙
Ó ˙
˙
w ™
w ˙˙̇
w ˙ ˙ w ™ ˙ w ˙n ˙ ˙
˙ ˙ ˙ w ™ ˙ w ™ ˙
w ˙ ˙ w ™ ˙ ˙˙ ˙ ˙# ˙
˙ ˙ ˙ w ˙ ˙ w ˙˙
w ˙ ˙ w ™ ˙ w ˙ ˙
˙ ˙ ww ™ ˙ w ˙
˙
www
˙˙̇˙
˙˙̇˙
wwww
™™™™
˙˙#
˙
˙˙
˙
˙˙n
˙˙
˙
˙˙
w˙˙
˙
˙
w˙
˙
www
˙˙˙
˙˙˙˙
wwww
˙˙˙˙
˙˙˙
w
w˙˙
˙˙ w
w ™™
˙
˙
n ˙w
w
˙˙˙
˙˙
˙
˙
˙ ww ™
˙˙˙
www
˙
˙
˙
˙
24
°
¢
{
°
¢
{
283
S.
A.
T.
B.
Org.
289
S.
A.
T.
B.
Org.
&
##
#
thee have I trust ed:
I
-
∑ ∑ ∑
let
f
me
&
##
#
thee have I trust ed:
I
- let me nev er- be con found- ed,- let me nev er- be con found- ed,- let me
&
‹
##
#
thee have I trust ed:
I
- let me nev er- be con found- ed,- let me nev er- be con found- ed,- nev er-
?##
#
thee have I trust ed:
I
-
∑∑
let me nev er,- nev er-
&
##
#
mf
∑ ∑
?##
#
8vi
cresc.
Pedale 8vi
f
&
##
#
nev er- be con found- ed,
I
-
U
∑
let
cresc.
me nev er- be con found- ed.-
&
##
#
nev er- be con found- ed,
I
-
U
let me nev er,- let me nev er- be con found- ed.-
&
‹
##
#
be con found- ed,
I
-
U
∑
let me nev er- be con found- ed.-
?##
#
be con found- ed,
I
-
U
∑
let me nev
cresc.
er- be con found- ed.-
&
##
#I
U
?##
#
I
¿
U
p
senza Ped:
cresc.
n
n #
¿
ww ˙̇ ˙̇ ˙̇ ˙̇ ∑ ∑˙ ˙
w ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
w ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
w ˙ ˙
˙ ˙∑ ∑ ˙ ˙ ˙ ˙ ˙ ˙
www
˙˙˙
˙˙̇˙
˙˙˙˙
˙˙˙˙
˙˙
˙˙ ˙
˙˙˙
˙˙ ˙
˙ ˙˙
˙˙ ˙
˙
˙̇
˙˙˙˙
w ˙ ˙
˙ ˙∑
˙˙
w
w
˙˙
∑
˙˙ ˙
˙ ˙˙
w
w
˙˙
∑
˙˙ ˙
˙
w
w
˙
˙
˙
˙
˙
˙
˙
˙
˙˙˙
˙˙
˙
˙ ˙ ˙ ˙˙w ˙ Ó ˙ ˙ ˙ ˙# w ™
˙˙
ww
˙˙ Ó
Ó
˙ ˙ ˙ ˙w ˙
Ó
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙œ
j
˙ ˙ ˙ w ˙
Ó
ww w ˙
Ó
˙ ˙ ˙ ˙n ˙# ˙ ˙ ˙ w ˙ Ó
w w w ˙ Ó ˙ ˙ ˙ ˙n w ™ ˙
w ˙Ó
˙˙
ww
˙˙
˙˙
w˙˙
˙
www
™™™ Ó
˙ ˙ ˙ ˙˙˙̇
˙˙˙
˙
˙˙ ˙
˙# w ™
˙˙ ˙ ˙
˙˙̇˙
wwww
™™™™ Ó
www
www
wwww ™
™™™
Ó
w
w
w
w
w ™
˙ ˙ ˙˙˙
˙˙˙
w ™
˙ ˙
˙
˙
w
w
™™ Ó
25
°
¢
{
°
¢
{
Tempo ordinario
Tempo ordinario
JOHN CAMIDGE (1790–1859)
edited by David Griffiths
Jubilate
S.
A.
T.
B.
Org.
6
S.
A.
T.
B.
Org.
C
C
C
C
C
C
&
##
#
O
CHORUS
be
¿
joy ful-
¿
in the Lord, be joy ful,- be joy ful- in the
&
##
#
O
CHORUS
be joy ful- in the Lord, be joy ful- in the
&
‹
##
#
O
CHORUS
be joy ful- in the Lord, be joy ful,-
?##
#
O
CHORUS
be joy ful- in the Lord, be
&
##
#
?##
#
Ped: 8vi
ff
&
##
#
Lord,
be joy ful- in the Lord, be joyful,
-
bejoy
ful,
I
-
be
&
##
#
Lord, be joy ful,- joy ful- in theLord, be joy ful,- be joy ful,
I
- be
&
‹
##
#
joy ful,- all ye lands,
¿
in the
Lord,
∑
be
?##
#
joy ful,- all ye lands in the Lord,
∑ ∑
&
##
##
?##
#∑
˙ ™ œ œ˙ ™
œ œœ œ œ œ œ œ
œœ œ œ
œ œ œ œ
˙ ™ œ˙ ™ œ ˙
œ œ œ
Œ Œ
œœ œ
œ œ
˙ ™ œ˙ ™ œ ˙ œ œn œ Œ Ó Œ
œœ œ
˙ ™ œ ˙ ™ œ ˙ œ œ# œ Œ Ó Ó Œ
œ
˙˙˙˙
™™™™
œœ
œ œ˙˙
˙
™™™
œœœ œ
œ
˙˙
œ œ œ˙
œœœ
œœ
œ
œœ˙ ™
œ œ œœ
œ
˙˙
˙ ™™™ œ
œ
œ
˙
˙˙ ™™™ œ
œœ
˙
˙˙
œ
œœ
œ
œœ#
n œ
œ Œ Ó
œ œœ œ
œ
œ Œ Œœ œ
œœ œ œ Œ Œ œ ˙ œ# œ ˙ œ œ
œœ
œ œ œœ œ œ œ
Œ Œœ œ œ œ
œœ œ ˙ œ œ
œ œ œ œ œœ œ œ œ
Œ Ó Ó Œ
œ
œ œœ œ
œ
œŒ
œ
œ œ
œ
œ Œ Ó
œœœ
œ
œ
œ
œ
œœœ
œœœ
œœœ
œ
œœ
œœœ
œœœ
ŒŒ œ
œ˙œ
˙
œ œœ
˙
˙œœ
œ œ
œœ œ
œ
œ
œ
œ
œ
œ
œ
œœ
Œ
œ
œ
œ
œ
œ
œ Œ Ó Ó Œ
œ
œ
26
°
¢
{
°
¢
{
11
S.
A.
T.
B.
Org.
16
ritard.
ritard.
S.
A.
T.
B.
Org.
C
C
C
C
C
C
&
##
#
joy ful- in the Lord, all ye
lands: serve
ff
the Lord with
&
##
#
joy ful- in the Lord, in theLord,
serve
ff
the Lord with
&
‹
##
#
joy ful- in the Lord, be joy ful- in the Lord, serve
ff
the Lord with
?##
#∑
be joy ful- in the Lord, serve
ff
the Lord with
&
##
#n
ff
?##
#
Ped: 8vi
ff
&
##
#
glad ness,- and come be fore- his pre sence- with a song.
##
##
&
##
#
glad ness,- and come be fore- his pre sence- with a song.
##
##
&
‹
##
#
glad ness,- and come be fore- his pre sence- with a song.
##
##
?##
#
glad ness,- and come be fore- his pre sence- with a song.
##
##
&
##
# ##
##
?##
# ##
##
œ
j
œn œ œœ
œ œ œ Œ ˙ ˙ ˙ œ
Œ
˙ œ œ œ œ œ
œ œœ œ œ
Œ Ó Ó
œ œ œ
Œ Óœ œ œ œ
œ œ œ œ œ Œ Œ œ œ
j
œn œ œœ
œ œ œŒ Ó œ œ œ œ
Ó Œœ œ œ œ œ œ Œ Ó œ œ œ œ
œ
j
œ˙
œ œœ
˙
œ œ œ
œ Œ
Œ
Œ
˙œ
˙œ
Jœn œ œ
œ
˙
œ œ œ
œ
Œ
Œ
Ó
˙ œ
˙˙ ™™œ œ œ œ
œ
˙˙
˙˙ œ
Œ Œ
œ
œ
˙
˙
˙
˙
œ
œ Œ Ó
˙˙˙ ™™™ œ
œœœ
˙
œ œœ œ œ œ œ œ œ œ œ
œ ˙ Ó
˙œ œ œ œ œ œ œ œ œ œ œ œ ˙
Ó
˙ œ œ œ œ œ œ œ œ œ œ œ ˙Ó
˙œ œ
œ œ œ œ œ œ œ œœ ˙ Ó
˙˙
˙
œœœ œ
œ
˙˙
œ œ œœœ
œœ
œ œ
œœ
œœœœ
œœœœ
œœœ
œ
œ
˙˙˙ Ó
˙˙˙˙
˙˙
œ
˙
œœ œ œ œœ ˙ ™
œ œ œ
œ
œ
˙
˙ Ó
27
°
¢
{
°
¢
{
°
¢
{
Slower
Slower
20
S.
A.
Org.
28
S.
A.
Org.
35
S.
A.
Org.
C
C
C
C
&
##
##
Be
VERSE
p
ye sure, be ye sure, be ye sure that the Lord he is God: it is
&
##
##
VERSE
∑
Be
p
ye sure, be ye sure, be ye sure that the Lord he is God:
&
##
##
VERSE
?##
##
legato
p
&
##
##
he that hath made us, it is he that hath made us,and not we our
I
selves;- we are his
&
##
##
∑
it is he that hath made us,and not we our
I
selves;- we are his
&
##
##
?##
##
&
##
##
peo ple,- and the sheep of his pas ture,- we are his peo ple,- and the sheep of his pas ture.-
##
##
&
##
##
peo ple,- and the sheep of his pas ture,- we are his peo ple,- and the sheep of his pas ture.-
##
##
&
##
##
#
##
##
?##
##
#∑
##
##
˙ ™œ
œ œw ˙ ™
œœ œ ˙ ™
Œ˙ œ œ ˙ œ œ
˙ œ œ œŒ œ œ
˙ ™œ
œ œ ˙ ™œ
œ œ ˙ ™
Œ
˙ œ œ ˙œ œ ˙ œ œ œ
Œ Ó
w
˙ ™œ
œ œw˙ ™
˙ ™
œœ œ w
œœ œ ˙ ™
˙ ™ Œ
Œ
˙˙ œ
œ œœ ˙
˙
w
œ œ
˙̇™œ œ
œœœ
Œ œ œ
ww
˙
˙ ™™
œ ˙ ™w
œœ œ ˙˙ ™™
Œ
w
ww ˙
w
œ œ
œ
œ Œ Ó
œ œ œ œ œ œœ œ œ œ œ œ
œ œ œ œ ˙ œœ œ œ œ ˙
Ó˙ œ œ
Óœ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ ˙
Ó˙ œ œ
œ œ œ
˙
œ œ
˙
œœ
œ
œ
œ œ
œ œ
œ
œ
œ
œ
œœ œ œ œ ˙
œœœ œœ œ
œ œ
œ
˙˙
Ó˙
˙
œ
œ
œ
œ
Ó
˙˙
˙˙
Ó Ó
œ
œ
œ
œ#
˙˙
˙
œ
˙
œ œ˙
œ œ# ˙Ó Ó
˙
˙
œ œ# œ œ ˙œ œ œ ˙
œ
˙ œ# œ œ
˙ œ œ œ œ œ œ#˙ ˙
œ œ œ œ œœ#œœ
œ ˙
Œ Œœ œ œ œ
œ# œ
œ œœ œ œ
˙ ˙
œ
˙ ™œ# œ œ
œ œ
˙
˙ ™
œ
œ
œ
#œœ
˙ ™˙˙
Œ
œ
Œ
˙œœ
œœœ
œœœ
œœ
˙
˙ ™
œ œ œ
˙œ œ˙ œœ#
˙
˙
w˙
˙
w˙ ™ œ
w
˙ ™œ
œ
˙ ™
˙ ™Œ
˙˙# ˙œ
œ
œ
˙
œ œ
˙
œ ˙ ˙
˙
28
°
¢
{
°
¢
{
41
S.
A.
T.
Org.
48
S.
A.
T.
Org.
3
2
3
2
3
2
3
2
3
2
3
2
&
##
##
VERSE
∑ ∑ ∑
O
p
go your way in to- his
&
##
##
VERSE
∑ ∑ ∑ ∑ ∑ ∑
&
##
##
O
p
VERSE
go your way in to- his gates, O go your way in to- his
&
‹
##
##
O
p
VERSE
go your way in to- his gates, O go your way in to- his
&
##
##
VERSE
?##
##
p
&
##
##
gates with thanks giv- ing,- and in to- his courts with praise,
&
##
##
∑ ∑ ∑
his courts with praise, his
&
##
##
gates with thanks giv- ing,- and in to- his courts, his courts with praise, his
&
‹
##
##
gates with thanks giv- ing,- and in to- his courts, his courts with praise, his
&
##
##
?##
##
Ó Ó Ó ˙ ˙ ˙# ˙ ˙ ™ œ œ œ
Ó
˙ ˙˙
˙ w œ œ ˙˙ ˙ w ˙ w ˙
œ
˙ ™ œ œ œ
˙w
˙ w ˙ ˙ ™ œ ˙ ˙˙
˙ w ˙ ˙# ™ œ œ œ
˙ ˙˙
˙ w œ œ ˙˙ ˙ ˙
˙
˙˙ ˙
w ™˙# ˙ ˙ ™
w
œ œ
˙
œ
Ó
˙ ww
w ™
™˙ w
w
w ™
™˙ ˙ ™
w
w ™
™œ ˙ w
w
w
˙ ww ˙
˙ ww# ˙
˙
˙˙
œ
j
œ# ™ œ
j
˙Ó Ó Ó
˙ ˙˙
˙ ˙ ˙ ˙# w Ó
Ó Ó˙ w ˙ w
˙
˙˙
˙ œ
j
œ ™œ
j
˙#
˙ ˙ ˙ ˙ w˙ ˙ ˙ ˙ w
˙
˙
˙ ˙# ˙ ˙
˙ ˙ ˙ ˙# w ˙ ˙# ˙ ˙ w˙
˙
˙ ˙ ˙˙
œ
j
œœ#™™ œ
j
˙˙˙
˙˙
˙˙
˙˙˙̇
#
˙ww
˙˙
˙
˙
˙
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wwww ˙
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j
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29
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54
S.
A.
T.
Org.
60
S.
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T.
Org.
&
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∑
his courts with praise: be thank ful- and
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courts with praise, his courts with praise: be thank ful,- be thank ful- and
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courts with praise, his courts with praise: be thank ful,- be thank ful- and
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courts with praise, his courts with praise: be thank ful,- be thank ful- and
&
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speak good of his Name. For the Lord is gra cious,- his mer cy- is ev er- last- ing:- and his
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speak good of his Name. For the Lord is gra cious,- his mer cy- is ev er- last- ing:- and his
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speak good of hisName.
∑ ∑ ∑ ∑
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speak good of hisName. is gra cious,- is ev er- last- ing:-
&
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Ó Ó˙ ˙ ™ œ
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j
˙w
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w ˙ w˙ w ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙
w ˙ w# ˙ w ˙
˙
w
w ˙ ˙ ˙˙
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w Ó Ó Ó
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˙ Óœ œ w ˙ ˙ œ œ œ œ ˙ œ œ œ œ ˙ ˙ œ œ
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j
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œ œ w ˙ ˙ œ œ œ œ ˙ œ œ œ œ ˙ ˙ œ œ
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30
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66
ritard.
ritard.
S.
A.
T.
Org.
71
S.
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Org.
c
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truth en dur- eth- from ge ne- ra- tion,- from ge ne- ra- tion- to ge ne
¶
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truth en dur- eth- from ge ne- ra- tion,- from ge ne- ra- tion- to ge ne
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∑ ∑ ∑ ∑ ∑
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his truth en dur- eth- from ge ne- ra- tion,- from ge ne- ra- tion- to ge ne- ra- tion.-
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n
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cresc. ¶
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Glo
CHORUS
ff
ry- be to the Fa ther,- and to the Son: and to the
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ff
ry,- glo ry- be to the Fa ther,- and to the
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ff
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ry- be to the Fa ther,- and to the
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wn ˙ ˙ œ œn œ œ ˙n œ œ œ œ ˙n œ
œ œ œ# œ# ™ œ
J
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w ˙ ˙ œ œ œ œn ˙ œ œ œn œ ˙ œœn œ
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w
w Ó
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31
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74
S.
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T.
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77
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Ho ly- Ghost; As it was in the be gin- ning,-
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Son: and to the Ho ly- Ghost; As it was in the be gin- ning,-
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8vi
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is now, and ev er- shall be: world with out- end.
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is now, and ev er- shall be: world with out- end.
I
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is now, and ev er- shall be: world with out- end.
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is now, and ev er- shall be: world with out- end.
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cresc.
¿Ped. 8vi
8vi
˙ ˙# w ˙ œ œ ˙ ˙n ˙ œ œ ˙ ˙
˙ œ œ œ œ ˙ ˙ ˙ ˙ œ œ œ œ œ œ ˙ ˙
˙ ˙ œ œ ˙ œ# œ ˙ ˙ œ œ œ œ œ œ œ ˙ ˙
˙
˙ ˙ ™ œ œ œ ˙# ˙
œ œn œ œ œ œ œ ˙ œ œ
˙˙
˙˙œ œ
w
œ œ ˙
˙
œ œ
œ˙
˙
œ ˙˙
˙
˙˙˙
˙œ
wœ
œ
œ
œ˙˙
œ œ
w˙˙
w ˙ ™ œ œ œ ˙# ˙
œ œn œ œ œ œ œ ˙ ™œ
˙ ™ œ ˙
˙ œ œ ˙ w w˙˙ ˙
˙˙̇ ˙
˙ w
˙œœ œ œ ˙
˙ œ œ ˙ w
˙ ˙ ˙ ˙ ˙ ˙ w
˙ ™ œ ˙˙
œ œ ˙ ww ˙ ˙ ˙
˙ w
˙ œ œ ˙˙
œ œ ˙
w w ˙ ˙
˙ ˙w
w
˙˙ ™™ œ
œœ
˙˙˙
˙˙˙˙
˙
˙˙
˙˙̇˙
wwww ˙W ˙ ˙
˙
˙
˙
˙˙̇
˙̇˙˙
www
˙ œ œ ˙˙
˙ ˙
w
W
Ww
w
w
w
32
33
EDITORIAL METHOD
In the respective voice parts the alto and tenor clefs have been replaced with modern ones and the
original dynamic markings of for and pia have been abbreviated to f and p respectively. All accents,
‘hairpin’ crescendos and diminuendos, slurs, and ties, which have been crossed, are editorial. In the
Organo part, tied short notes have often been substituted with single longer notes, without comment,
and notes which appear on one stave have sometimes been transferred to the other to help visual
appearance and to lessen the number of leger lines used.
34
NOTES ON THE TEXTUAL COMMENTARY
The following abbreviations are used in the Textual Commentary:
DYNAMICS f (etc.) forte (etc.)
mf (etc.) mezzo-forte (etc.)
p (etc.) piano (etc.)
GENERAL alt alternative
b(b) bar(s)
ed editorial
k-s key signature
o no accidental(s) in score
om omitted
sl slur(red)
t tie
t-s time-signature
NOTE VALUES c crotchet
c. (etc.) dotted crotchet (etc.)
m minim
m-rest (etc.) minim rest (etc.)
q quaver
s semibreve
sq semiquaver
PART NAMES A Alto
B Bass
LH Left hand
Org Organ
RH Right hand
S Soprano
T Tenor
PITCH 8ve octave
hr higher note of a chord
hst highest note of a chord
lr lower note of a chord
lst lowest note of a chord
md middle note of a chord
SYSTEM OF REFERENCE 1581 A: o indicates that in bar 158, the first note of the Alto
part has no accidental in the score
Pitch names are given in the Helmholtz system: C–B, c–b, c'–b', c''–b'' (c' = middle C).
35
TEXTUAL COMMENTARY
Source: John Camidge. Cathedral music (London, 1830), pp. 2–24
Text: Morning Prayer (Book of Common Prayer)
Music: Composed before 14 October 1815
Te Deum
11–2
Org RH: cue notes are the composer’s
52 T: VERSE ed
82 T: FULL ed
234 A and T: dynamic of S, B, and Org applied
861 B: d'
1271 Org LH: hr m
1581 A: o
158–159 B: both cue and normal size notes are
the composer’s
1723 S: crescendo of A, T, B, and Org applied
1762 S and A: f
190 T, B, and Org: CHORUS ed
1911 S: dynamic of A, T, B, and Org in b 190
applied
201 All parts: t-s ¾
201 A and B: VERSE ed
2221 B: both cue and normal size notes are the
composer’s
2321 Org, LH hr s
250 T and B: VERSE ed
277 All parts: ts C
2802 T: stroke (i.e., staccato) ed
2842 S: stroke (i.e., staccato) ed
2902 Org, LH: stroke (i.e., staccato) ed
Jubilate
102 A: stroke (i.e., staccato) ed
20 S: p of A (bar 21) applied
22 A1: appoggiatura and slur of Org, RH
applied
24–25 A and Org: crescendo of S applied
33 S1–2
: slur of A applied
34 A: diminuendo of S applied
36 A: crescendo of S applied
671 S 1 and 2: crescendo of T applied
693 S 1 and 2, Org: diminuendo of T applied
701 Org, LH both notes s.
71 All parts: ts C
711 S: f; ff of A applied
