Notes on Harp of David

Abstract

These notes do not constitute a critical analysis; that would be a task for someone other than myself. Rather, they amount to a sort of log of work's evolution, a post-compositional exercise which in fact I have not attempted with any of my other pieces. The reaction of some students, colleagues, and performers, to whom I have shown them, persuaded me they may be worth sharing. This cycle of six psalm-settings for a-cappella chorus1 had a number of causes. First, in my head for a long time was a vague notion of setting some psalm-texts, from old Book of Common Prayer version, as a tribute to my mother, often used to quote favourite phrases (my cup runneth over, who going into vale of misery useth it for a well, the mountains skipped like lambs), and with whom I sang them in a church choir many years ago. Second, in 1 982 1 heard Elmer Iseler Singers perform on two occasions Monteverdi's Lagrime d'amante, and was struck by intense effect of close to half an hour of acappella choral music, and by unexpectedly wide range of colors and textures. Third, I had, over a period of twenty years or more, delved into early psalmody and hymnody, especially in their Canadian aspects, had taught this material to my students, and in 1984-5 was actively engaged in editing an anthology of tunes from early Canadian collections.2 Further, I had composed two choral works based on traditional hymn tunes - Sharon Fragments (1966) and Three Motets on Swan's 'China' (198 1)3 - and found continuing interest in beauty of this literature and in its potential for variational and other kinds of treatment. The fourth cause was one which really ignited enterprise. Late in 1984, a good friend from college days, Rev. R.F. Shepherd, was elected Anglican Bishop of British Columbia, and asked me to compose a piece to be sung at his installation. I responded with a setting of Psalm 65, which now forms first movement of Harp of David; it was performed by choir of Christ Church Cathedral in Victoria (where I used to sing as a boy) under direction of Michael Gormley. Ronald Shepherd had approved text, one of several possibiUties we considered in consultation: blessing is called on the man whom thou choosest, spirit of a happy, laughing earth seemed appropriate, and rain images accorded especially well with West Coast locale. The following spring I set Psalm 80, now fourth movement. Shortly afterwards I drafted a plan for cycle, chose further texts, and composed successively Psalms 122 and 87 (together; now sixth movement), Psalm 148 (now No.5), Psalm 1 (No.3), and Psalm 130 (No.2). The first two movements (1 and 4) drew respectively on a Scottish psalm tune (London New, 1635) and a tune from earliest hymnal of Wesley an Methodism (Foundery, 1742). For other four movements, I borrowed tunes from other periods and from traditions with comparable pertinence in Canadian terms - for No.2, Aus tiefer Not, Lutheran, 1524;forNo.3,Psaume 1, Calvinist, 1542; for No.5, Beautiful River, U.S., 1864; and for No.6, Remembrance, New Brunswick, 1816. The texts for all six movements are those of Book ofCommon Prayer of 1562. But in each movement except No.5 I added portions of corresponding verseparaphrases, juxtaposing these with prose in various ways; and again these verses are all taken from different historical sources (some older bibles printed them as a supplement): that in No. 1 from first North American collection, Bay Psalm Book, 1640; those in Nos. 2 and 3 from same sources as their melodies, first Lutheran songbooks and Geneva P salter respectively; that in No.4 from Isaac Watts' The Psalms of David imitated in language of New Testament, 1722; and that in No. 6 from Methodist poet John Newton. The BCP texts are each set in full - with only two modifications. In No. 5, last few lines are slightly re-arranged. …