At nearly the time that Alarot's translation of the Psalms appeared, Stenihold and Hopkins, with several coadjutors, produced an English version, to which were adapted many of the best German and French tunes ; and Strype says, "it is certain that Sternhold composed several at first for his own solace. For he set and sung them to his own organ, which music King Edward VI. sometime bearing (for he was a gentleman of the Privy Chamber), was much delighted with them." (` Historical Memorials,' bk. L, chap. I I.) But if this versifier poseeesed as little musical as poetical taste, it is fortunate for him that his compositions do not remain to demonstrate that he was no lees utekilful in one art than In the other. It is, however, to be pro 'mimed that there having been many very able musicians in the service of the youthful Edward, they contributed something in aid of Stern hold's design. But it Is now generally supposed that for the majestic melody to which our 100th Psalm is adapted, we are indebted to the genius of Claude Le Jeune. This forms the Mille, or tenor part, of his 134th Psalm, as printed in the Leyden edition of 1635 ; and it is necessary to remark that he, as well as others iu his time, made a practice of giving the subject, or air, as a kind of eastus firms, to the tenor voice.
The first complete collection of psalm tunes for four voices deserting notice was published in 1621, by Thomas Itavonscroft, Mus. ]lac., to which Tale, Morley, Dowland, and all the great masters of the (lay contributed; the name of John Milton, the father of the poet, also appears there, as the composer of York and NoricirA tunes. The editor supplied many, sonic of which are still in use; and to his collec tion all the numerous works of the kind since priuted have been much indebted. About the year 1671, John Hayford, a good musician, and a most useful industrious editor, printed, in Svo, "Ile Whole Book of Psalms in three parts,' in which he has judiciously the melo(ly to the soprano voice, to which it naturally belongs, and it ever since has retained its place. A few of the tunes in that collection are
supposed to have been composed by Playfonl himself, whom Sir John Hawkins considers as " the father of modern psalmody." Subsequently to the last edition of his work, valuable additions were made to the stock of genuine English psalmody, by Dr. Croft, Courteville, Carey, &c., and Handel is the reputed composer of the sweet music to the 104th Psalm, which still continues in our chimes, and as the dirge at the soldier's funemL Dr. hiller, of Doncaster, effected a considerable improvement in psalmody by his Psalms of David for the use of Parish Churches,' in which the version of Tate and Brady was employed, and drove Sternhold and Hopkins from many of their strongest positions. The extraordinary success of that work, which made its way into the remotest parts of Great Britain, raised up a host of rivals and the number of publications and of new tunes has since increased beyond calcuLation. The popular works of all foreign com posers have been made contributory to that love of novelty which carries its influence even into the temples of religion, and many organists have fancied themselves qualified and privileged to print a collection for the use of the church or chapel in which they officiate. Hence the music which had become almost a part of our Liturgy is falling into desuetude, and modern hymns—not always the most appropriate or the best in point of cotnposition—threaten finally to banish the fine characteristic harmony of our ancient psalmody.
(Bingham's ; ' Bayle; Strype; Warton's'}list. of Poet.;' Mason's Essay ; ' lawkius; Burney ; Dr. Vincent On Psalmody.')