in the Tudor Protestant Hymnal "Ghostly Psalms and Spiritual Songs," 1539. These Lutheran versifications were written in continental Europe while Coverdale was in exile from England. Hymn tune Below is the 1525 hymn tune by Wolfgang Dachstein. Musical settings 16th century Lupus Hellinck's four-part setting of "An Wasserflüssen Babylon" was published in 1544. The treatment is motet-like: the first part of the hymn tune is presented by the soprano voice, however adorned with inserted supplemental melodies, after which the tenor voice presents the rest of the hymn tune, with similar embellishments. Another four-part setting of the hymn, likewise first published in Georg Rhau's Newe Deudsche Geistliche Gesenge, is by . A three-part setting by this composer had already been published in 1541. The 115 Guter newer Liedlein collection, published in 1544, contains an extended choral setting by : in this version, each stanza of the hymn is set for a different group of singers, from three to six voices. Wannenmacher's two-part setting (bicinium) of the hymn was published in 1553. Sigmund Hemmel used the text in the 1550s in his four-part setting, with the cantus firmus in the tenor: Der gantz Psalter Davids, wie derselbig in teutsche Gesang verfasse was printed in 1569. 17th century A native of Nuremberg, Hans Leo Hassler was taught by Andrea Gabrieli in Venice, where he excelled as a keyboard player and consorted with his younger uncle, Giovanni Gabrieli. Hassler's 4-part setting of "An Wasserflüssen Babylon" was composed in 1608. Johann Hermann Schein composed a setting of "An Wasserflüssen Babylon" for two sopranos and instrumental accompaniment, which he published in 1617. His 1627 Cantional contained a four-part setting of the hymn, a setting which was republished by Vopelius's Neu Leipziger Gesangbuch (1682). In 1628 Heinrich Schütz published a four-part harmonisation of "An Wasserflüssen Babylon", SWV 242, in the Psalmen Davids, hiebevorn in teutzsche Reimen gebracht, durch D. Cornelium Beckern, und an jetzo mit ein hundert und drey eigenen Melodeyen ... gestellet, the Becker Psalter, Op. 5. Samuel Scheidt, composed two settings of the hymn, SSWV 505 and 570, for soprano and organ in the Tabulatur-Buch hundert geistlicher Lieder und Psalmen of 1650. Franz Tunder composed a setting of the hymn for soprano, strings and continuo. Organist at the Marienkirche, Lübeck from 1646 to 1668, Tunder initiated his Abendmusik there. Buxtehude later married Tunder's daughter and succeeded him as organist at Lübeck. The hymn also inspired