Kedron (Amos Pilsbury): Difference between revisions

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{{#Legend:}}
{{#Legend:}}
*{{PostedDate|2018-08-28}} {{CPDLno|51045}} [[Media:KedronPilsbury1799a-Comparison.pdf|{{pdf}}]] [[Media:KedronPilsbury1799a-Comparison.mxl|{{XML}}]] [[Media:KedronPilsbury1799a-Comparison.mscz|{{Muse}}]]
*{{PostedDate|2018-08-28}} {{CPDLno|51045}} [[Media:KedronPilsbury1799a-Comparison.pdf|{{pdf}}]] [[Media:KedronPilsbury1799a-Comparison.mxl|{{XML}}]] [[Media:KedronPilsbury1799a-Comparison.mscz|{{Muse}}]]
{{Editor|Barry Johnston|2018-08-28}}{{ScoreInfo|7 x 10 inches (landscape)|2|61}}{{Copy|Public Domain}}
{{Editor|Barry Johnston|2018-08-28}} {{ScoreInfo|7 x 10 inches (landscape)|2|61}}{{Copy|Public Domain}}
:'''Edition notes:''' Comparison of seven versions of this tune. Note shapes added (4-shape).
:{{EdNotes|Comparison of seven versions of this tune. Note shapes added (4-shape).
:# Pilsbury 1799, ''United States Sacred Harmony'', p. 67. Four parts, first measure 4 beats, second section repeated. {{MXL}}
:# Pilsbury 1799, ''United States Sacred Harmony'', p. 67. Four parts, first measure 4 beats, second section repeated.
:# Davisson 1817, ''Kentucky Harmony'', ''Garland'', p. 22. Four parts, first measure 2 beats, no repeats. Ascribed to [Elkanah] Dare.
:# Davisson 1817, ''Kentucky Harmony'', ''Garland'', p. 22. Four parts, first measure 2 beats, no repeats. Ascribed to [Elkanah] Dare.
:# Moore 1825, ''Columbian Harmony'', p. 62. Four parts, first measure 4 beats, second section repeated.
:# Moore 1825, ''Columbian Harmony'', p. 62. Four parts, first measure 4 beats, second section repeated.
Line 10: Line 10:
:# Swan and Swan 1848, ''Harp of Columbia'', p. 45. Four parts, first measure 4 beats, second section repeated.
:# Swan and Swan 1848, ''Harp of Columbia'', p. 45. Four parts, first measure 4 beats, second section repeated.
:# Hauser 1848, ''Hesperian Harp'', p. 21. Four parts, first measure 4 beats, second section repeated.
:# Hauser 1848, ''Hesperian Harp'', p. 21. Four parts, first measure 4 beats, second section repeated.
:# Walker 1867, ''Christian Harmony'', p. 208. Four parts, first measure 4 beats, second section repeated.
:# Walker 1867, ''Christian Harmony'', p. 208. Four parts, first measure 4 beats, second section repeated.}}
 
*{{PostedDate|2017-12-15}} {{CPDLno|48029}} [[Media:KedronPilsbury1799a.pdf|{{pdf}}]] [[Media:KedronPilsbury1799a.mid|{{mid}}]] [[Media:KedronPilsbury1799a.mxl|{{XML}}]]
*{{PostedDate|2017-12-15}} {{CPDLno|48029}} [[Media:KedronPilsbury1799a.pdf|{{pdf}}]] [[Media:KedronPilsbury1799a.mid|{{mid}}]] [[Media:KedronPilsbury1799a.mxl|{{XML}}]]
{{Editor|Barry Johnston|2017-12-15}}{{ScoreInfo|7 x 10 inches (landscape)|1|74}}{{Copy|Public Domain}}
{{Editor|Barry Johnston|2017-12-15}}{{ScoreInfo|7 x 10 inches (landscape)|1|74}}{{Copy|Public Domain}}
:'''Edition notes:''' Note shapes added (4-shape). All eight stanzas of Wesley's original hymn included. {{MXL}}
:{{EdNotes|Transcribed from Pilsbury (1899). Note shapes added (4-shape). All eight stanzas of Wesley's original hymn included.}}
 
*{{PostedDate|2017-11-18}} {{CPDLno|47435}} [[Media:KedronHauser1878a.pdf|{{pdf}}]] [[Media:KedronHauser1878a.mid|{{mid}}]] [[Media:KedronHauser1878a.mxl|{{XML}}]]
{{Editor|Barry Johnston|2017-11-18}}{{ScoreInfo|Unknown|1|48}}{{Copy|Public Domain}}
:{{EdNotes|{{Edc|arr|William Hauser}}. Notes in four-shape format, as published by Hauser in 1878. Seven more half-stanzas of Wesley's hymn included.}}
 
*{{PostedDate|2017-11-18}} {{CPDLno|47433}} [[Media:KedronDavisson1817bpr.pdf|{{pdf}}]] [[Media:KedronDavisson1817bpr.mid|{{mid}}]] [[Media:KedronDavisson1817bpr.mxl|{{XML}}]]
{{Editor|Barry Johnston|2017-11-18}}{{ScoreInfo|Letter|1|76}}{{Copy|Public Domain}}
:{{EdNotes|{{Edc|arr|Ananias Davisson}}. Note heads converted to oval shapes. Original words by Charles Wesley, 1762. Seven more half-stanzas from Wesley's hymn included.}}
 
*{{PostedDate|2017-11-18}} {{CPDLno|47430}} [[Media:KedronDavisson1817a.pdf|{{pdf}}]]
{{Editor|Barry Johnston|2017-11-18}}{{ScoreInfo|7 x 10 inches (landscape)|1|49}}{{Copy|Public Domain}}
:{{EdNotes|{{Edc|arr|Ananias Davisson}}. Note heads in four-shape format, as originally published by Davisson in 1817. Original words by Charles Wesley, 1762. Seven more half-stanzas from Wesley's hymn included.}}


==General Information==
==General Information==
'''Title:''' ''Kedron''<br>
{{Title|''Kedron''}}
{{FirstLine|Thou man of griefs, remember me}}
{{FirstLine|Thou man of griefs, remember me}}
{{Composer|Amos Pilsbury}}
{{Composer|Amos Pilsbury}}
{{Lyricist|Charles Wesley}}
{{Lyricist|Charles Wesley}}


{{Voicing|4|SATB}}<br>
{{Voicing|4|SATB}}
{{Genre|Sacred|}} &nbsp; {{meter|88. 88 (L.M.)}}
{{Genre|Sacred|}} &nbsp; {{Meter|88. 88 (L.M.)}} (Davisson)
{{Language|English}}
{{Language|English}}
{{Instruments|A cappella}}
{{Instruments|A cappella}}
{{Published|1799}}
{{Pub|1|1799|in Pilsbury's ''[[The United States Sacred Harmony (Amos Pilsbury)|The United States Sacred Harmony]]'', p. 67, without attribution.}}
{{Pub|2|1813|in ''[[Wyeth's Repository, Part Second]]''}}
{{Pub|3|1816|in {{NoComp|Kentucky Harmony|Ananias Davisson}}|vol=Edition 1}}
{{Pub|4|1817|in {{NoComp|Kentucky Harmony|Ananias Davisson}}, as ''Garland''|vol=Edition 2}}
{{Pub|5|1818|in {{NoComp|Johnson's Tennessee Harmony|Alexander Johnson}}}}
{{Pub|6|1835|in ''[[Southern Harmony]]''|p=3}}
{{Pub|7|1844|in ''[[The Sacred Harp (1844)|The Sacred Harp]]''}}
{{Pub|8|1848|in {{NoComp|The Hesperian Harp|William Hauser}}}}
{{Pub|9|1867|in Walker's {{NoComp|The Christian Harmony|William Walker}}}}
{{Pub|10|1878|in ''[[The Olive Leaf (William Hauser)|The Olive Leaf]]''.}}
{{Descr|Arranged by Elkanah Dare for three parts in 1813; then by Ananias Davisson for four parts in 1816 and again in 1817, the latter as Garland (with different words by Isaac Watts, "How pleasant, how divinely fair"). It was arranged again by Alexander Johnson for four parts in 1818; this arrangement became the basis for the three-part versions in ''Southern Harmony'' (1835) (p. 3) and [[The Sacred Harp (1844)]] (p. 48). Davisson (1816) made the most extensive revision, and the Alto part was revised by Swan and Swan in 1848. Otherwise, the music in Hauser (1848) and Walker (1867) differs very little from Pilsbury's original in 1799. The complex history of this tune is discussed at length by David Music (1995); he concludes that Pilsbury arranged a folk tune obtained orally or from an unattributed manuscript.


'''Description:''' First published in Pilsbury's ''The United States Sacred Harmony'', 1799, p. 67, without attribution. Arranged by Elkanah Dare for three parts in 1813; then by [[Kedron (Ananias Davisson)|Ananias Davisson]] for four parts in 1816 and again in 1817, the latter as Garland (with different words by Isaac Watts, "How pleasant, how divinely fair"). It was arranged again by Alexander Johnson for four parts in 1818; this arrangement became the basis for the three-part versions in ''Southern Harmony'' (1835) (p. 3) and [[The Sacred Harp (1844)]] (p. 48). Davisson (1816) made the most extensive revision, and the Alto part was revised by Swan and Swan in 1848. Otherwise, the music in Hauser (1848) and Walker (1867) differs very little from Pilsbury's original in 1799.
The words Pilsbury (1799) used are the first stanza of Hymn 686 by Charles Wesley, 1762, altered; they were further altered by William Walker (1835), so that the line reads
 
The complex history of this tune is discussed at length by David Music (1995); he concludes that Pilsbury arranged a folk tune obtained orally or from an unattributed manuscript.
 
The words Pilsbury (1799) used are the first stanza of Hymn 686 by Charles Wesley, 1762, altered; they were further altered by William Walker (1835), so that the line reads  
:Thou man of grief, remember me;
:Thou man of grief, remember me;
:Thou never canst thyself forget
:Thou never canst thyself forget
:Thy last expiring agony,
:Thy last expiring agony,
:Thy fainting pangs, and bloody sweat.  
:Thy fainting pangs, and bloody sweat.
Since these alterations changed the meaning of Wesley's hymn, the words used here are Wesley's original words.
Since these alterations changed the meaning of Wesley's hymn, the words used here are Wesley's original words.


A folk hymn, derived from one or several folk songs (Jackson 1953b, No. 57).
A folk hymn, derived from one or several folk songs (Jackson 1953b, No. 57).}}
 
{{#ExtWeb:}}
'''External websites:'''
 
==References==
*Davisson, Ananias. 1816.
*Hauser, William. 1848.
*Moore, William. 1825.
*Pilsbury, Amos. 1799.
*Swan and Swan. 1848.
*Walker, William. 1835. ''[[Southern Harmony|The Southern Harmony, and Musical Companion]]''. Second edition, 1837; Third Edition, 1838, Fourth Edition, 1840, Fifth Edition, 1847a, Sixth Edition, 1847b, Seventh Edition, 1854.
*Walker, William. 1867. ''The Christian Harmony''. Philadelphia: E. W. Miller and William Walker. 383 pp.
*Wesley, Charles. 1762.
 
==Original text and translations==
==Original text and translations==
{{LinkText|Thou man of griefs, remember me}}
{{LinkText|Thou man of griefs, remember me}}

Latest revision as of 03:13, 24 July 2021

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  • (Posted 2018-08-28)  CPDL #51045:       
Editor: Barry Johnston (submitted 2018-08-28).   Score information: 7 x 10 inches (landscape), 2 pages, 61 kB   Copyright: Public Domain
Edition notes: Comparison of seven versions of this tune. Note shapes added (4-shape).
  1. Pilsbury 1799, United States Sacred Harmony, p. 67. Four parts, first measure 4 beats, second section repeated.
  2. Davisson 1817, Kentucky Harmony, Garland, p. 22. Four parts, first measure 2 beats, no repeats. Ascribed to [Elkanah] Dare.
  3. Moore 1825, Columbian Harmony, p. 62. Four parts, first measure 4 beats, second section repeated.
  4. Walker 1835, Southern Harmony, p. 3. Three parts, first measure 4 beats, second section repeated.
  5. Swan and Swan 1848, Harp of Columbia, p. 45. Four parts, first measure 4 beats, second section repeated.
  6. Hauser 1848, Hesperian Harp, p. 21. Four parts, first measure 4 beats, second section repeated.
  7. Walker 1867, Christian Harmony, p. 208. Four parts, first measure 4 beats, second section repeated.
  • (Posted 2017-12-15)  CPDL #48029:       
Editor: Barry Johnston (submitted 2017-12-15).   Score information: 7 x 10 inches (landscape), 1 page, 74 kB   Copyright: Public Domain
Edition notes: Transcribed from Pilsbury (1899). Note shapes added (4-shape). All eight stanzas of Wesley's original hymn included.
  • (Posted 2017-11-18)  CPDL #47435:       
Editor: Barry Johnston (submitted 2017-11-18).   Score information: Unknown, 1 page, 48 kB   Copyright: Public Domain
Edition notes: Arranged by William Hauser. Notes in four-shape format, as published by Hauser in 1878. Seven more half-stanzas of Wesley's hymn included.
  • (Posted 2017-11-18)  CPDL #47433:       
Editor: Barry Johnston (submitted 2017-11-18).   Score information: Letter, 1 page, 76 kB   Copyright: Public Domain
Edition notes: Arranged by Ananias Davisson. Note heads converted to oval shapes. Original words by Charles Wesley, 1762. Seven more half-stanzas from Wesley's hymn included.
  • (Posted 2017-11-18)  CPDL #47430:   
Editor: Barry Johnston (submitted 2017-11-18).   Score information: 7 x 10 inches (landscape), 1 page, 49 kB   Copyright: Public Domain
Edition notes: Arranged by Ananias Davisson. Note heads in four-shape format, as originally published by Davisson in 1817. Original words by Charles Wesley, 1762. Seven more half-stanzas from Wesley's hymn included.

General Information

Title: Kedron
First Line: Thou man of griefs, remember me
Composer: Amos Pilsbury
Lyricist: Charles Wesley

Number of voices: 4vv   Voicing: SATB
Genre: Sacred   Meter: 88. 88 (L.M.) (Davisson)

Language: English
Instruments: A cappella

First published: 1799 in Pilsbury's The United States Sacred Harmony, p. 67, without attribution
    2nd published: 1813 in Wyeth's Repository, Part Second
    3rd published: 1816 in Kentucky Harmony, Edition 1
    4th published: 1817 in Kentucky Harmony, as Garland, Edition 2
    5th published: 1818 in Johnson's Tennessee Harmony
    6th published: 1835 in Southern Harmony
    7th published: 1844 in The Sacred Harp
    8th published: 1848 in The Hesperian Harp
    9th published: 1867 in Walker's The Christian Harmony
    10th published: 1878 in The Olive Leaf
Description: Arranged by Elkanah Dare for three parts in 1813; then by Ananias Davisson for four parts in 1816 and again in 1817, the latter as Garland (with different words by Isaac Watts, "How pleasant, how divinely fair"). It was arranged again by Alexander Johnson for four parts in 1818; this arrangement became the basis for the three-part versions in Southern Harmony (1835) (p. 3) and The Sacred Harp (1844) (p. 48). Davisson (1816) made the most extensive revision, and the Alto part was revised by Swan and Swan in 1848. Otherwise, the music in Hauser (1848) and Walker (1867) differs very little from Pilsbury's original in 1799. The complex history of this tune is discussed at length by David Music (1995); he concludes that Pilsbury arranged a folk tune obtained orally or from an unattributed manuscript.

The words Pilsbury (1799) used are the first stanza of Hymn 686 by Charles Wesley, 1762, altered; they were further altered by William Walker (1835), so that the line reads

Thou man of grief, remember me;
Thou never canst thyself forget
Thy last expiring agony,
Thy fainting pangs, and bloody sweat.

Since these alterations changed the meaning of Wesley's hymn, the words used here are Wesley's original words.

A folk hymn, derived from one or several folk songs (Jackson 1953b, No. 57).

External websites:

Original text and translations

Original text and translations may be found at Thou man of griefs, remember me.

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