f the
Anglican is "Tallis' Evening Hymn." The division was only temporary. The
two schools were gradually reconciled, and together made the model after
which the best sacred tunes are built. It is Tallis who is called "The
father of English Cathedral music."

In Germany, after the invention of harmony, church music was still felt
to be too formal for a working force, and there was a reaction against
the motets and masses of Palestrina as being too stately and difficult.
Lighter airs of the popular sort, such as were sung between the acts of
the "mystery plays," were subsidized by Luther, who wrote compositions
and translations to their measure. Part-song was simplified, and Johan
Walther compiled a hymnal of religious songs in the vernacular for from
four to six voices. The reign of rhythmic hymn music soon extended
through Europe.

Necessarily--except in ultra-conservative localities like Scotland--the
exclusive use of the Psalms (metrical or unmetrical) gave way to
religious lyrics inspired by occasion. Clement Marot and Theodore Beza
wrote hymns to the music of various composers, and Caesar Malan composed
both hymns and their melodies. By the beginning of the 18th century the
triumph of the hymn-tune and the hymnal for lay voices was established
for all time.

* * * * *

In the following pages no pretence is made of selecting _all_ the best
and most-used hymns, but the purpose has been to notice as many as
possible of the standard pieces--and a few others which seem to add or
re-shape a useful thought or introduce a new strain.

To present each hymn _with its tune_ appeared the natural and most
satisfactory way, as in most cases it is impossible to dissociate the
two. The melody is the psychological coefficient of the metrical text.
Without it the verse of a seraph would be smothered praise. Like a
flower and its fragrance, hymn and tune are one creature, and stand for
a whole value and a full effect. With this normal combination a
_complete_ descriptive list of the hymns and tunes would be a historic
dictionary. Such a book may one day be made, but the present volume is
an attempt to the same end within easier limits.

CHAPTER I.

HYMNS OF PRAISE AND WORSHIP.

"TE DEUM LAUDAMUS."

This famous church confession in song was composed A.D. 387 by Ambrose,
Bishop of Milan, probably both words and music.

Te Deum laudamus, Te Dominum confitemur
Te aeternum Patre