Three Sacred Works 1 Psalm 117 For choir and keyboard Sydney, 1849

Transcription

1 ustralian Music Series MD01 hree Sacred Works 1 Psalm 117 For choir and keyboard Sydney, 189 Isaac Nathan Canterbury, 1799 Sydney, 186 Edited by Richard Divall Music rchive Monash University Melbourne

2 2! Information about the MUSIC RCHIVE series ustralian Music nd other available orks in the free digital series is available at his edition may be used free of charge for private performance and study. It may be freely transmitted and copied in electronic or printed form. ll rights are reserved for performance, recording, broadcast and publication in any audio format. 201 Richard Divall Published by MUSIC RCHIVE OF MONSH UNIVERSIY Sir Zelman Coen School of Music Monash University, Victoria, 800, ustralia ISN ISMN he edition has been produced ith generous assistance from he ustralian Research heology Foundation he Marshall-l rust

3 ! Introduction Isaac Nathan, musician, journalist and composer as born in Canterbury, England, the son of a Polish Jeish cantor. pupil of Domenico Corri, ho composed the ballad opera on the South Seas, Pitcairn Island, Nathan came to prominence ith his publication in 1815 of the to volumes of Hebre Melodies, set to the poetry of Lord yron. Financial difficulties caused Nathan to leave England, and he arrived in Sydney in pril 181. here through his self-promotion he became a ell-knon musical figure in early Sydney. ogether ith William Vincent Wallace he as the best knon musical identity in the early life of the Colony of Ne South Wales. Nathan orked as a musician at the embryonic St Mary s Roman Catholic Cathedral, then under the enedictine ishop [later rchbishop] John ede Polding, as ell as having an association ith St James nglican Church. his church had been commissioned by Governor Lachlan Macquarie in 1820 and designed by Francis Greenay. he first full biography on Nathan as he Hebre Melodist by Catherine Mackerras, published in 196. Mackerras, as the mother of the great ustralian conductor, Sir Charles Mackerras ho as also a descendant of Nathan. Nathan is supposed to have ritten the first opera in Sydney, Don John of ustria, hich as presented on 7 May 187 at the Victoria heatre, Sydney. vocal score survives in the Mitchell Library, as ell as the complete libretto and dialogue, hich is in the Colonial Secretary s papers in the State Library of NSW. Nathan composed in several genres, songs, sacred music and especially music ritten about the indigenous inhabitants of the Sydney region, some of the texts set in the native language spoken around Port Jackson. He died in 186 as the result of an accident on the nely introduced horse dran tram in Sydney. Very fe of his manuscripts survive, presumably because his ido burned them after his untimely death. We no kno that Nathan as a prolific riter, commentator and may have been ustralia s first food critic. he Sydney academic, Dr Graham Pont is currently completing a large scale study of the composer s life and orks, including his contributions to Sydney s journals. he three sacred orks in this series ere all composed by Nathan in Sydney. he first, he Lord s Prayer as published in 185 and dedicated to the Rt Rev. William Grant roughton, then the nglican Lord ishop of ustralia. It as composed either as a solo for one voice or to be sung in a four part vocal ensemble, accompanied by either pianoforte or organ. he nthem O Praise the Lord all ye Heathen as an arrangement of the anthem of the same text by Henry Purcell (Z), and reproduced in John Chetham s ook of Psalmody, first published in Nathan revised, corrected and arranged the original Purcell and in the style of the time, improved upon the original ork, making it into a five part anthem. It as printed in Nathan s curious book of essays, he Southern Euphrosyne and ustralian Miscellany hich as published in Sydney in 189. he Names of Christ as issued in 185, and is a series of verses of music, for six voices and set to poetry by the Rev James rotherton Laughton of Sydney ( ). It as composed expressly for St James and St Mary s Choral Societies.

4 ! Photograph of Isaac Nathan 1860 s, Sydney. State Library of Ne South Wales

5 ! 5 Facsimile of the opening page of he Southern Euphrosyne National Library of ustralia.

6 6! Facsimile of the opening page of Psalm 117 O praise the Lord National Library of ustralia.

7 ! 7 CKNOWLEDGMENS I express my deep appreciation to llan and Maria Myers O, and to the Rector and Provost of Neman College, he University of Melbourne. his series of sacred music has been facilitated by a grant from the ustralian Research heology Foundation, to hom I am most grateful. gain my thanks to my fello rustees of he Marshall-l rust; Lady Primrose Potter C, Sir James Gobbo C, Professor John Poynter O OE and ssociate Professor hérèse Radic. nd especially to Professor Ed yrne C, the President and Vice-Chancellor of Monash University, Professor John Griffiths, and to the Head of the Sir Zelman Coen School of Music, ssociate Professor Rob urke for their support and assistance of this project. Richard Divall May 201 CRIICL NOES he alto line is ritten in soprano clef but obviously up an octave. ar Instrument Original text before amendment 5 ass Note =D he Editor Frà Professor Richard Divall O OE is a Vice-Chancellor s Professorial Fello at Monash University, an Honorary Principal Fello in Music at he University of Melbourne, and Visiting Professor at he University of Malta. He is Chairman of the Marshall-l rust and is a Knight of Malta in Solemn Religious Profession. He as aarded a D.Lett. (Hon Causa) in 1992 by Monash University, and a Doc. Univ. (Hon Causa) by the ustralian Catholic University in 200. He holds a PhD in heology from the University of Divinity on eighteenth-century sacred music on Malta that includes an edition of the complete sacred orks of Nicolò Isouard ( ), and is an Honorary Research Fello at the same university. Richard Divall has edited early ustralian music since 1967.

8 Psalm 117 Soprano I Soprano II Largo q = 80 nthem - Psalm 117 'he Southern Euphrosyne' - Sydney 189 Henry Purcell Z and edited by John Chetham 171 In ' ook of Psalmody'. rranged by Isaac Nathan Edited by Richard Divall C j j O praise the Lord all ye hea - then. O praise the Lord all ye hea - then, praise C lto C enor C ass C j j # O praise the Lord all ye hea - then. O praise the Lord all ye hea - then, praise Pianoforte or an I 8 C C Largo q = 80 J J the Lord, praise him, praise Him all ye na - tions. b # # # j j # the Lord, praise him, praise Him all ye na - tions. # bj # J <n> j J # j 201 Richard Divall

9 I 1 dagio q=60 J Œ Praise Him, praise Him all ye na - tions. For His For His For His For His Praise Him, praise Him all, all, all, all, all ye na - tions. For His Ó Ó Ó Œ Œ Œ Œ 9 j dagio q=60 Œ I 19 j j # # # j J j # # mer - ci-ful kind- ness, his mer - ci-ful kind-ness is e - ver more and more to-ards us, is j j # # # j J j # # mer - ci-ful kind- ness, his mer - ci-ful kind-ness is e - ver more and more to-ards us, is j j mer - ci-ful kind- ness, his mer - ci-ful kind-ness is e - ver more and more to-ards us, is j # J j j # j mer -ci - ful kind- ness, his mer - ci-ful kind-ness is e - ver more and more to-ards us, is # j mer -ci - ful kind- ness, his mer - ci-ful kind-ness is e - ver more and more to-ards us, is # # # # j j j # # #J j j j # j

10 10 27 Œ Ó J # e - ver more and more, and the truth of the Lord, the truth of the Lord en - du - reth for e- ver, for I Œ Ó J # e e e e - ver more and more, and the truth of the Lord, the truth of the Lord en - du - reth for e- ver, # Œ Ó j - ver more and more, and the truth of the Lord, the truth of the Lord en - du - reth for e- ver, for # Œ Ó j # Œ - ver more and more, and the truth of the Lord, the truth of the Lord en - du - reth for e- ver, Œ Ó - ver more and more, and the truth of the Lord, the truth of the Lord en - du - reth for e- ver, # j Œ # # # # # Œ I 7 J Œ e - - ver and e- ver, J Œ e - - ver and e- ver, # j # j Œ e - - ver and e- ver, for - e - - ver and e- ver, for e - ver and e - - ver and e- ver, for e - - en - du - reth for e - - Ó j J b Ó J # j # j Œ Ó J J J

11 I en en [llegro - lelujah] Ó j C - du - reth for e ver and e - ver. -le - lu- jah, Ó j C Ó - du - reth for e ver and e - ver. - le - 11 Ó C j j en - du - reth for e ver and e - ver. n j J J j C Ó - ver and e - ver, for e ver and e - ver. -le - lu- jah, - le - C ver and e - ver, for e - ver and e - ver. -le - lu- jah, n j j j j [llegro - lelujah] C J j C Ó I 51 J # Ó Ó - le-lu- jah, -le - lu- jah. -le - lu - jah. -le - lu - jah, -le - lu- jah, lu- jah, -le - lu- jah, - le - lu - jah, -le - lu- jah, Ó # j -le - lu- jah, - le-lu- jah, -le - lu - jah, - le - Ó Ó lu- jah. -le - lu- jah. -le - lu - jah, -le - lu- jah, J Ó Ó -le - lu- jah, - le-lu- jah. -le - lu - jah. -le - lu - jah, -le - lu- jah, j # J J Œ

12 le - lu - jah, - le - lu - jah, - le - lu - - I - le - lu - jah, - le - lu - jah, - le - lu - jah, le - lu - - # lu - jah, - le - lu - jah, - le - lu - jah, - le - Ó - le - lu - jah, - le - lu - jah, - le - lu - jah, - le - lu - jah, - le - lu - - # 6 jah. I Ó b jah. - le - lu - - jah. -lu - jah, - le - lu - - jah. - le - lu - jah, - le - lu - jah [div] - le - lu - jah. jah, - le - lu - - jah. ẇ b