entirely for congregational use must be faulty in one of two ways; either
it will offer for congregational singing hymns whose sacred and intimate
character is profaned by such a treatment, or it will have to omit some
of the most beautiful hymns in the language: but congregations differ
much, not only with regard to the music in which they are capable of
joining, but also as to the sort of words which best express their
religious emotion.

In the following notes the left-hand side of the page is given to the
words, the right to the music of each hymn: in the latter column will be
found full information as to the text of the music, the source whence it
is derived, &c., together with a careful account of every departure that
has been made from the originals. It is hoped that this will not only be
of general interest, but that it may inspire confidence in the text of
the book, and ensure the reception which its authority demands. For the
text of the music, and all the statements in the notes, I am responsible;
excepting those portions of the notes which are therein assigned to their
proper authorities, and in these I am responsible for the correctness of
the quotations and references, in which I have done my best to secure
accuracy. I owe much to the kindness of Mr. W. Barclay Squire at the
British Museum; I have also to thank Mr. Godfrey Arkwright for the loan
of some rare books, and Dr. Chas. Wood of Cambridge for two settings and
occasional reading of music proofs; in which latter task I gratefully
record the help of Mr. J. S. Liddle and Dr. Percy Buck. To Mr. Miles
Birket Foster I owe the three trios by Jeremy Clark, and to the Revs. W.
H. Frere and G. H. Palmer the text of the plain-song melodies, and the
information concerning them which is given in the following notes: it is
due to the generosity with which they put their learning and judgement at
my disposal that I am able to offer these tunes with the same confidence
as the rest of the book. Professor Wooldridge, having co-operated with me
throughout, has allowed his name to appear on the title page.

[22]No. 28 is a good example of this. See also No. 98.

[23]No. 57 is a good example. The line _Du bist mein, und ich bin dein_,
corresponds in stanza 2 with _Wenn die Welt in Truemmer fallt_, and in
stanza 4 with _Elend, Noth, Kreuz, Schmach und Tod_. Again in No. 77
the opening phrase, _Mon Dieu, mon Dieu_, of the twenty-second psalm
needs music which