Singing Mendelssohn for Rogation Sunday

Today is the Sunday traditionally called Rogation Sunday, the last Sunday of Easter. The concept was dropped in the 1979 prayer book/Hymnal 1982 — but more on that later.

Hymnal 1940 lists three hymns for Rogation Sunday:

• #101, “O Jesus, crowned with all renown” to the tune Rhinegold arranged by R. Vaughan Williams for The English Hymnal. In Hymnal 1940 it’s the only hymn in the Rogation section; in Hymnal 1982 it’s #202, while in Book of Common Praise 2017 it’s #148 and also in the Rogation section.
• #138, “We plow the fields,” a Thanksgiving/harvest hymn to the tune Claudius; also H82: 291 and BCP17: 204.
• #497, “O God of Bethel, by whose hand,” to Dundee (more often used for “Let saints on earth in concert sing”, #397). It continues in H82: 709 (gender neutered) and BCP17: 147 (the other hymn listed in the Rogation section).

We sang the first two today; the harmony for #138 was particularly fun to sing.

Mendelssohn’s Rogation Hymn

Despite these two hymns, my favorite today was the third one we sang: “We come unto our fathers’ God” (H40: 303; BCP17: 339; dropped from Hymnal 1982). The text by written by T.H. Gill in 1868 based on Psalm 90, and the hymn was also found in Hymnal 1916 (#424), where it is a Thanksgiving hymn.

Quoting from John Julian’s 1907 Dictionary of Hymnology, Hymnary.org says he wrote nearly 200 hymns, but “They are almost exclusively used by Nonconformists,” including Baptist and Congregationalist hymnals.

Both the 1916 and 1940 PECUSA hymnals call the tune To God on High, but BCP17 uses the more accurate name Allein Gott in der Höh.

The Hymnal 1940 Companion (p. 197) explains the origin of the name and arrangement:

In the Deutsch Evangelisch Messe, … “Gloria in excelsis” in Latin was set to its customary Easter plainsong. But for the Geistliche Lieder, 1539, Nicolaus Decius converted both words and tune into a German hymn, “Allein Gott in der Höh”. … The harmonization is that of the second chorus in Mendelssohn’s oratorio St. Paul…

Hymnary, quoting the 1988 Psalter Hymnal Handbook, says the original tune was a 10th century Easter chant.

It might be the biases of my classical music training that I prefer a name-brand musical setting, whether Bach or the Sanctus from Schubert’s Deutsche Messe (H82: S130). However, the reality is that with this training (and singing bass rather than soprano), when I’m sight-reading a hymn, it’s a lot more enjoyable when the arranger follows the voice leading and harmonic progression rules that prevailed from roughly Bach to Brahms.

In this case, other than a couple of octave leaps, Mendelssohn’s voice leading was very natural, and I easily mastered it in the first two verses.

Rogation Sunday

The “Rogation” days are named after rogare, Latin verb “to ask”. The 1912 New Advent Encyclopedia explains:

Days of prayer, and formerly also of fasting, instituted by the Church to appease God's anger at man's transgressions, to ask protection in calamities, and to obtain a good and bountiful harvest, known in England as "Gang Days" and "Cross Week", and in Germany as Bittage, Bittwoche, Kreuzwoche. The Rogation Days were highly esteemed in England and King Alfred's laws considered a theft committed on these days equal to one committed on Sunday or a higher Church Holy Day. Their celebration continued even to the thirteenth year of Elizabeth, 1571, when one of the ministers of the Established Church inveighed against the Rogation processions, or Gang Days, of Cross Week.

Shepherd’s definitive Oxford American Prayer Book Commentary (p. 54) explains its history:

for St. Basil in Cappadocia and St. Chrysostom at Antioch tell us of the custom of singing litanies in public processions, often in rivalry with similar processions sponsored by the Arian heretics. In the Western Church these processional litanies were introduced to take the place of older pagan processions of a supplicatory character, usually made about the fields in springtime for the safety of the crops. They consisted not only of petitions but of miscellaneous anthems, and were known as ‘Rogations.’ During the sixth century the Roman Church instituted such a procession on April 25th to take the place of an old pagan festival, the Robigalia, in honor of the god Robigo who was believed to be a protector of the crops from mildew (see p. 237). Earlier than this, about the year 470, a Gallican bishop, Mamertus of Vienne, had inaugurated processional litanies on the three days preceding Ascension Day, at a time of special terror in the locality because of volcanic eruptions and earthquakes. The ‘Rogation Days’ thus instituted (see p. 261) were soon adopted by other churches in Gaul, then by a church council in England in 747, and finally by the Roman Church it- self in the time of Pope Leo III (795-816).

Readings for Rogation Sunday

Later on, Shepherd (p. 176) explains the readings published in the 1928 Book of Common Prayer:

This Sunday is called Rogation Sunday because of the three Rogation Days which follow it.…But the propers of the day are older than the adoption of the Rogation Days at Rome, and the aptness of them to the Rogation theme is coincidental.

In the historic lectionary, the Epistle (James 1:22-27) and Gospel (John 16:23-33) continue the readings from the 4th Sunday after Easter (James 1:17-21; John 16:5-15). Shepherd notes that these readings for both weeks are found in the Roman and Sarum Missals, although they omit John 16:31-33. These identical readings are found in Cranmer’s original 1549 Book of Common Prayer, as well as the global standard for three centuries, the 1662 BCP.

In the three year lectionary of the 1979 prayer book, neither of these latter readings (for the “Sixth Sunday of Easter”) are retained, nor is the term “Rogation Sunday.” Depending on the year, the 1979 uses readings from 1 Peter, 1 John, Acts or Revelation (multiple alternatives are available) for the epistle, and John 14 or 15 for the gospel. The Revised Common Lectionary retains these readings, as does the 2019 ACNA liturgy. While Book of Common Praise 2017 continues Rogation hymns, Hymnal 1982 (like the 1979 prayer book) has dropped the observance.

The historic 1549/1662/1928 gospel reading includes this famous promise:

And in that day ye shall ask me nothing. Verily, verily, I say unto you, Whatsoever ye shall ask the Father in my name, he will give it you. Hitherto have ye asked nothing in my name: ask, and ye shall receive, that your joy may be full. (John 16:23-24)

The earlier passages of John 14 and 15 convey the sense of obedience and union with God, but not the well-known promise “ask, and ye shall receive.” The ACNA liturgy restores the name “Rogation Sunday,” but not the command to ask our heavenly Father.

References

Massey Hamilton Shepherd, Jr., The Oxford American Prayer Book Commentary (London: Oxford University Press, 1950).

Joint Commission, The Hymnal 1940 Companion, 3rd ed. (New York: Church Pension Fund, 1951).

Final ACNA Book of Common Prayer online

I've been meaning to report that the final Book of Common Prayer 2019 — and a brand new website and URL (bcp2019.anglicanchurch.net) — are now online. Unlike the earlier task force website (“Texts for Common Prayer”) and resources of the past seven years, this is a polished, professional website — actually much more attractive than the main ACNA website. This new push is in anticipation of next month’s national Assembly, where attendees will head home with the new prayer book.

The website includes an 812 page downloadable (unlocked) PDF version of the full prayer book. Its navigation tabs include

• BCP Text: to download the full PDF, or a PDF or Word copy of one of the 12 major sections of the prayer book.
• Purchase: direct purchase of either the $17 pew book or the $30 imitation leather “deluxe” edition.
• History: a reprint of the preface signed by the first two ACNA archbishops, Bob Duncan and Foley Beach.
• Resources: bulletin inserts for Years A,B,C and the Holy Days which remain constant across all three years; also some residual explanatory materials from the task force days.

Both the inserts and the prayer book itself make it clear that for nearly all purposes, the preferred ACNA readings are now the BCP2019 (“New Coverdale”) for psalms and the ESV for everything else.

Share and Share Alike

The ACNA has aggressively moved into the 21st century with the copyright policy for both its liturgy and its new psalter:

With the exception of the New Coverdale Psalter, the content of the Book of Common Prayer (2019) is not under copyright, and all not-for-profit reproduction of the content by churches and non-profit organizations is permitted. The New Coverdale Psalter is copyright © 2019 by the Anglican Church in North America, but this is not intended to discourage the use and duplication of the text by churches for purposes of worship. 

The right to print the Book of Common Prayer (2019) has been granted exclusively to Anglican Liturgy Press, an imprint of Anglican House Media Ministry, Inc. Any for-profit publication requests must be addressed to Anglican House Media Ministry www.anglicanhousemedia.org

As someone who’s taught IP law for almost 20 years, this dual business model — free online, exclusive rights for dead tree versions — is the only practical approach for the 21st century. While hymnals and (many) hymns are tightly restricted by 3rd party copyrights, liturgy material needs to be shared (not monetized): this is one genie that’s not going back into the bottle.

This approach is in marked contrast to the policies that restrict online sharing  policies of the Church of England and United States Conference of Catholic Bishops, and even to the reluctant openness of The Episcopal Church when tech-savvy members sought to put the 1979 prayer book online decades ago. It appears that the Anglican Church of Canada also “gets” it.

Companion Online Resource: Lergeme.com

In contrast to the 1662, 1928 or 1979 prayer books — or the Revised Common Lectionary — there are limited online resources for the BCP2019 beyond the official ACNA website.

What is available is Lergeme.com, which provides the Morning and Evening Prayer updated daily, as well as the fixed offices (such as midday and compline). In a separate, extremely useful feature — modeled on a similar feature at CommonPrayer.org — the Lergeme site provides a calendar that allows a reader to bring up the variable Daily Office and Eucharist readings for any given day.

The site does not use the the BCP2019 psalter. While it allows for alternate Bible translations, beyond the default ESV there are only a handful of modern translations (Good News, The Message, NASB). I can’t get the “About” feature to work on any of my three browsers, so right now I also can’t figure out who to credit with its creation.

As an initial website, it’s a very good starting point. The most useful addition would be a podcast or website of recorded services, for those who regularly practice the Daily Office.

About the Book of Common Prayer 2019

The website and the first five pages of the printed (or PDF) prayer book contain a 2,278 word preface about the context of the new liturgy. After tracing the history of Anglican liturgy from the 2nd to the 17th centuries, the final 370 words of the BCP2019 preface discusses the past 40 years:

The liturgical movement of the 20th century and ecumenical rapproachment in the second half of that century had an immense impact on the Prayer Book tradition. The Book of Common Prayer 1979 in the United States and various Prayer Books that appeared in Anglican Provinces from South America to Kenya to South East Asia to New Zealand were often more revolutionary than evolutionary in character. Eucharistic prayers in particular were influenced by the re-discovery of patristic texts unknown at the Reformation, and often bore little resemblance to what had for centuries been the Anglican norm. Baptismal theology, especially in North America, was affected by radical revisions to the received Christian understanding, and came perilously close to proclaiming a gospel of individual affirmation rather than of personal transformation and sanctification.

At the beginning of the 21st century, global reassessment of the Book of Common Prayer of 1662 as “the standard for doctrine, discipline and worship” shapes the present volume, now presented on the bedrock of its predecessors. Among the timeless treasures offered in this Prayer Book is the Coverdale Psalter of 1535 (employed with every Prayer Book from the mid-16th to the mid-20th centuries), renewed for contemporary use through efforts that included the labors of 20th century Anglicans T.S. Eliot and C.S. Lewis, and brought to final form here. The Book of Common Prayer (2019) is indisputably true to Cranmer’s originating vision of a form of prayers and praises that is thoroughly Biblical, catholic in the manner of the early centuries, highly participatory in delivery, peculiarly Anglican and English in its roots, culturally adaptive and missional in a most remarkable way, utterly accessible to the people and whose repetitions intended to form the faithful catechetically and to give them doxological voice.

The Book of Common Prayer 2019 is the product of the new era of reform and restoration that has created the Anglican Church in North America. The Jerusalem Declaration of 2008 located itself within the historic confines of what is authentically the Christian Faith and the Anglican patrimony, and sought to restore their fullness and beauty. The Book of Common Prayer 2019 is offered to the same end.

Thomas, John, Jean and John

I previously wrote about the quintessential “doubting Thomas” hymn, “O sons and daughters let us sing” (H40: 99; H82: 206). The English translation by John Mason Neale (of the Latin text “O Filli et Filiae”) was first published in his Medieval Hymns and Sequences (1851).

For the first Sunday after Easter, the doubting Thomas passage (John 20:19-31) is found in Years A,B and C of the Revised Common Lectionary as it was in the one year lectionary of the 1928 Book of Common Prayer. The 1549, 1559 and 1662 BCP only read John 20:19-23, which has the fearful disciples in a locked room and Jesus showing his hands, but not Thomas satisfying his doubts.

However, I said little about the author of the original Latin text, Jean Tisserand. Little is known about him, other than he was a Franciscan monk, founded a women’s order, and died in Paris in 1494. His text is his most enduring legacy.

Even more mysterious is the origin of the tune, appropriately dubbed O Filli et Filiae, of which the oldest extant source is a Paris publication from 1624. The Hymnal 1940 Companion (1951, p. 74) says

The tune, O fillii et filiae, is probably the original contemporary melody since none other has been used with the text.

Thirty years later, the Hymnal Companion to the Lutheran Book of Worship (p.236) concluded essentially the same thing

O FILLI ET FILIAE belongs to this text and probably is contemporary with it.

Thus, I think it’s safe to say this is one of the oldest pairings of text (translated into the vernacular) with its corresponding tune. (The likely prize-winner is the plainsong Lord’s prayer, which is believed to be from the patristic era.)

As I’ve argued before, a central part of our Christian heritage is not just the teachings and beliefs of the church, but also the liturgy and music used to catechize those beliefs. Let us hope that the Church keeps Friar Tisserand’s contribution for another 500 years.

The Day of Resurrection

Among the canon of Anglican hymns for the Feast of the Resurrection is, appropriately enough, “The Day of Resurrection,” a hymn translated from the Greek by John Mason Neale.

The text is attributed to eighth century Greek Theologian, St. John of Damascus. According to Hymnary, the hymn is published in more than 450 hymnals.

Hymns of the Eastern Church

While my previous research has emphasized Neale’s translations from Latin, Neale also translated Greek hymns. In 1862, he published his pathbreaking translations of more than fifty hymns from the Greek in his book Hymns of the Eastern Church. As John Julian summarized in his 1892 Dictionary of Hymnology (p. 788):

Dr. Neale conferred even greater boon upon the lovers of hymnology than by his translations from the Latin, when he published, in 1862, his Hymns of the Eastern Church. In his translations from the Latin be, did what, others had done before; but in his translations from the Greek he was opening entirely new ground. “It is,” he says in his preface to the first edition, “a most remarkable fact, and one which shows how very little interest bas been hitherto felt in the Eastern Church, that these are literally, I believe, the only English version of any part of the treasures of Oriental Hymnology.”

As early as 1838 he had printed a few of his versions in The Ecclesiastic, but it was not till the appearance of the complete volume that the interest of the general public was awakened in them. Then they became wonderfully popular. His translations “Christians, dost thou see them?”, “The day is past and over,” “’Tis the day of Resurrection,” and his Greek-inspired “Art thou weary,” and “O happy band of pilgrims,” are almost as great favourites as “Jerusalem the golden,” and the first in his Hymns of the Eastern Church, “Fierce was the wild billow,” deserves to be. Dr. Neale had a far more difficult task before him when he undertook these Greek hymns than he had with the Latin, and he appeals to the reader “not to forget the immense difficulty of an attempt so perfectly new as the present, when I have had no predecessors and therefore could have no master.”

Beyond “The Day of Resurrection,” and “Jerusalem the Golden,” perhaps the most popular in this collection is “Come, ye faithful, raise the strain,” a second Easter hymn by St. John of Damascus.

Hymnal 1940, #96, 1st tune

The Day of Resurrection

In Hymns of the Eastern Church, “The Day of Resurrection” is one of 12 by St. John of Damascus — nine for Easter and three for Doubting Thomas Sunday (now celebrated July 3).

As noted, translation from Greek is trickier than from Latin. However, Neale’s 1862 translation is almost completely unchanged:

’Tis the Day of Resurrection: Earth! tell it out abroad!
The Passover of gladness! The Passover of GOD!
From Death to Life Eternal,— From this world to the sky,
Our CHRIST hath brought us over, With hymns of victory.

Our hearts be pure from evil, That we may see aright
The LORD in rays eternal Of Resurrection-Light:
And, listening to His accents, May hear, so calm and plain,
His own—All Hail!—and hearing, May raise the victor strain!

Now let the Heav’ns be joyful! Let earth her song begin!
Let the round world keep triumph, And all that is therein:
Invisible and visible Their notes let all things blend,—
For CHRIST the LORD hath risen,— Our joy that hath no end.

It was picked up (naturally) in Hymns Ancient & Modern (2nd edition, 1877), which initiated the three changes we keep today:

• Drop the “’Tis” in the first phrase
• “From this world to the sky” became “From earth unto sky”
• “Invisible and visible their notes let all things blend” became “Let all things seen and unseen their notes together blend.”

These three same verses were used in The English Hymnal (1906) and — as far as I can tell — all subsequent publications in Anglican hymnals.

Anglo-German Tune: Ellacombe

Ellacombe (which Anglicans sing today) was not the first tune for “The Day of Resurrection.” In Hymns A&M (#132 in the 1877/1889 edition), the tune was Rotterdam (by Berthold Tours). Hymnary says it’s the third most popular hymn for the text over the last 150 years.

The most popular hymn (according to Hymnary) is Lancashire by Henry Smart. This seems to be the most popular tune for this texts in American Protestant hymnals: it is used (for example) by Methodist (United Methodist Hymnal, 1989), Southern Baptist (Celebrating Grace, 2010), Presbyterian (Glory to God, 2013) and Lutheran (The Lutheran Hymnal, 1941; Christian Worship, 1993; Lutheran Service Book, 2006) hymnals.

The second most popular tune is Ellacombe. According to Hymnary.org and The Cyberhymnal, the original tune for Ellacombe was published in a German Catholic hymnal in 1784, and then revised by various German hymnals in the 19th century.

The current version and harmonization was by William Henry Monk, music editor of Hymns Ancient & Modern, for the first (1868) supplement to Hymns A&M. The text is “Come, sing with holy gladness”. The name (for a village in Devon) also dates to Hymns A&M. The tune was also used later for “Hail to the Lord’s anointed.”

The English Hymnal was the first to pair Neale’s (modified) text with Ellacombe.

The English Hymnal (1906), #137

Among Anglicans in the former colonies:

• Hymnal 1916 (#171) gave a choice of two tunes: 1) Rotterdam and 2) Greenland (by Michael Haydn). 
• Hymnal 1940 (#96): first tune is Ellacombe from TEH, and the second is All Hallows — written in 1892 by George Clement Martin (1844-1916). It is a rare example of when H40 has multiple tunes but doesn’t keep at least one of those used in H16.
• Hymnal 1982 (#210) just has Ellacombe
• Book of Common Praise 2017 (#123) not surprisingly also only has Ellacombe.

The text and tune also stand unchanged in hymn #217 of the New English Hymnal (1986).

Conclusion

We can thank Neale for preserving and making accessible a 1300-year-old Easter text by one of the greatest theologians of the Eastern church. By hymnal standards, Neale’s 1862 translation has well stood the test of time. 

Meanwhile, we must say “Alleluia” to William Henry Monk for publishing an adaptation of this stirring tune in Hymns Ancient & Modern —  and to Percy Dearmer and Ralph Vaughan Williams for pairing the text with this tune.

References

• John Julian, ed., “John Mason Neale,” A Dictionary of Hymnology, New York: Scribner’s Sons (1892), 785-791.
• J.M. Neale, trans., Hymns of the Eastern Church, London: J.T. Hayes, 1862, available at the Internet Archive: https://archive.org/details/hymnseasternchu01nealgoog/

Fortunatus and Neale teach us about the cross

Some of the oldest hymns in the Anglican canon are by Fortunatus, the 6th century cleric who was the leading Latin poet of his era — the first century after the fall of Rome — and a contemporary of Gregory the Great. His best known are probably the Easter hymns “Hail thee, festival day” and “Welcome happy morning.”

As with so many things ancient and medieval, much of what we know and use of Fortunatus’ work is owed to John Mason Neale, who did the original translation of “Hail thee, festival day.” Today for Good Friday we sang two of the Fortunatus’ hymns for Holy Week that were translated by Neale:

• Pange lingua gloriosi: “Sing, my tongue, the glorious battle” (a slightly different arrangement than #66 in Hymnal 1940)
• Vexilla Regis prodeunt: “The royal banners forward go,” sometimes credited to Theodulph of Orleans. We sang the H40 #63 version, transposed down one step (from G to F).

The Royal Banners Forward Go

The latter begins

The royal banners forward go,
The cross shines forth in mystic glow,
Where he, as man, who gave man breath,
Now bows beneath the yoke of death.

This translation was first published in 1851 (without music) by Neale in his Medieval Hymns & Sequences. In this book, he explains the text thus:

This world-famous hymn, one of the grandest in the treasury of the Latin Church, was composed by Fortunatus, on occasion of the reception of certain relics by S. Gregory of Tours and S. Radegund previously to the consecration of a church at Poitiers. It is therefore strictly and primarily a processional hymn, though very naturally afterwards adapted to Passiontide.

As with all popular Neale translations, it later was picked up by Hymns Ancient & Modern and The English Hymnal.

The Hymnal 1940 Companion lists eight latin verses:

Vexilla regis prodeunt
Fulget crucis mysterium
Quo carne carnis conditor
Suspensus est patibulo.

Confixa clavis viscera
tendens manus, vestigia
redemptionis gratia
hic inmolata est hostia.

Quo vulneratus insuper
Mucrone diro lanceae
Ut nos lavaret crimine
Manavit unda et sanguine.

Impleta sunt quae concinit
David fideli carmine
Dicens In nationibus
Regnavit a ligno Deus.

Arbor decora et fulgida
Ornata Regis purpura
Erecta [sic] digno stipite
Tam sancta membra tangere.

Beata, cujus brachiis
Saecli pependit praemium
Statera facta corporis
Praedam que tulit Tartari.

O crux ave, spes unica
Hoc passiones tempore
Auge piis justitiam
Reisque dona veniam.

Te summa Deus trinitas
Collaudet omnis spiritus:
Quos per crucis mysterium
Salvas, rege per saecula.

It also said

Since the tenth century it has been the Vesper office hymn from Passion Sunday to Wednesday in Holy Week. The “vexillum” was the old Roman cavalry standard which, after Constantine, was surmounted by a cross instead of the Roman eagle.

The six verses in H40 are V1,4,5,6 of Fortunatus, and two concluding stanzas from the 10th century office hymn. The H40 HC says the text has been in the Episcopal Hymnal since 1874, making it one of the first of Neale’s hymns adopted for U.S. use. According to Hymnary, the text is reprinted in 118 hymnals.

Sarum Plainchant

H40 has two tunes. The second tune, Parker, was written in 1894 for this text.

As for #63 (First Tune), Hymnal 1940 Companion says

The first tune, Vexilla Regis, is the Sarum form of the traditional melody for this text, undoubtedly as old as the words themselves.

Hymnal 1982 (#162) retains this text-tune pairing, but says the oldest record of the tune is a 12th century Roman manuscript. It is dropped from the Book of Common Praise 2017;  the text (with the other H40 tune) was published in the 1939 Book of Common Praise.

Medieval Lutheran Hymnody

Next to Anglicans, the Lutherans are the most respectful of our medieval (and ancient) liturgical and musical patrimony. Thus, it was not completely surprising that Thursday Issues Etc. broadcast a new one-hour segment on this hymn, with an enthusiastic endorsement by LCMS pastor (and chief liturgist) Will Weedon.

This hymn is part of the Lutheran canon, although (as Weedon alludes to) the latest LCMS hymnal, the 2006 Lutheran Service Book, provides a less Gregorian and more hymn-like chant (#455), with reduced melisma, barred to a consistent 3-beat rhythm.

Pastor Weedon noted that the hymn had several Holy Week applications, including Maundy Thursday and the veneration of the cross at Good Friday. (Today we sang it after the veneration of the cross). In his view, the “royal banners” would be better understood as battle standards, as when Romans (or Christians) were going to fight the enemy.

Weedon was excited that the third verse was a quote from a reference to the cross in Psalm 96:10 in the Old Latin, pre-Vulgate (presumably Vetus Latina) book of psalms. In the 6th century, the Vulgate was less than 200 years old and Fortunatus would have known the earlier (Septuagint-derived) psalter. In the earlier psalm, the verse refers to the “wood,” i.e. the wood of the cross.

In accord with this view, the Adam Clarke commentary identifies multiple quotations of this earlier psalm translation by the patristic fathers:

Say among the heathen that the Lord reigneth - Justin Martyr, in his dialogue with Trypho the Jew, quotes this passage thus: Ειπατε εν τοις εθνεσι, ὁ Κυριος εβασιλευσε απο του ξυλου, "Say among the nations, the Lord ruleth by the wood," meaning the cross; and accuses the Jews of having blotted this word out of their Bibles, because of the evidence it gave of the truth of Christianity. It appears that this reading did exist anciently in the Septuagint, or at least in some ancient copies of that work, for the reading has been quoted by Tertullian, Lactantius, Arnobius, Augustine, Cassiodorus, Pope Leo, Gregory of Tours, and others. The reading is still extant in the ancient Roman Psalter, Dominus regnavit a ligno, and in some others. In an ancient MS. copy of the Psalter before me, while the text exhibits the commonly received reading, the margin has the following gloss: Regnavit a ligno crucis, "The Lord reigns by the wood of the cross." 

Musical Recordings

iTunes lists three vocal recordings, from Ely Cathedral, Gloucester Cathedral, and St. John’s College Cambridge. The Gloucester Cathedral recording is of tune Gonfalon Royal, the alternate tune (#128.ii) for the text (#79) in the New English Hymnal. It is not obvious what St. John’s singing.

The Ely recording is the only recording I could find of the Sarum tune. Shazam™ says that it is also the one used in the Issues Etc. broadcast.

So while this is one of Neale’s less popular texts, nonetheless it continues on 150 years later as a testimony in the third millennium from the middle of the first millennium.