086.OComeAndMournWithMe

Please turn to number 86 and join with the clarinets in “O Come and Mourn with Me”.

Number: 86
First Line: O Come and Mourn With Me
Name: ST. CROSS
Meter: L.M.
Tempo: Slowly
Music: John Bacchus Dykes, 1823-76
Text: Frederick William Faber, 1814-63

Clarinet Arrangement: 086-OComeAndMournWithMe

I really like this hymn.

However, regarding Mr Dykes, while popular in Victorian times, his tunes fell out of favor in the 20th Century.

Whereas the proliferation of Dykes’s tunes in hymnals published throughout the nineteenth century, together with some surviving correspondence by hymnal compilers and by clergymen, in the UK and overseas (including the US and Nyasaland (now Malawi)), show that his compositions were highly regarded, the end of his century brought a widespread reaction against much of the Victorian aesthetic, and Dykes’s music did not escape a censure which was often vituperative. In particular, his music was condemned for its alleged over-chromaticism (even though some 92% of his hymn tunes are either entirely, or almost entirely diatonic) [34] and for its imputed sentimentality. (Speaking of Victorian hymn-tunes generally, but evidently with Dykes in his sights [35] Vaughan Williams wrote of ‘the miasma of the languishing and sentimental hymn tunes which so often disfigure our services’ [36]) Whereas it is indeed reasonable to characterise his music as often being sentimental, his critics never paused to explain why nineteenth century church services, which were replete with sentimental imagery, prose and choreography, should not be accompanied by music of a like kind. Nor did they explain why sentimentality per se is a bad thing, nor why music invariably improves in inverse proportion to its sentimental content. As one writer put it, in a wider consideration of the subject: “Something is wrong with sentimentality: the only question is, What is it?” [37] As for Dykes’s harmonies generally (of which the twentieth century writers Erik Routley and Kenneth Long were outspoken in their disparagement), scholars in recent years have questioned the twentieth century orthodoxy which condemned Dykes’s music out of hand, with Professors Arthur Hutchings, Nicholas Temperley and (especially) Jeremy Dibble seeing the importance of Dykes’s pioneering work in moving hymn-tunes from the bland and four-square long metre tunes which had been the staple of Tate and Brady’s New Version of the Psalms.

And regarding the author of this hymn, which is nothing if not sentimental…

Frederick William Faber was born in 1814 at Calverley, then within the Parish of Calverley in the West Riding of Yorkshire,[1] where his grandfather, Thomas Faber, was the vicar. His father served the local bishop of the Church of England as his secretary.[2]

Faber attended grammar school at Bishop Auckland in County Durham for a short time, but a large portion of his boyhood was spent in Westmorland. He afterwards attended the Harrow School for five years, followed by enrollment in 1832 at Balliol College at the University of Oxford. In 1834, he obtained a scholarship at the University College, from which he graduated. In 1836 he won the Newdigate Prize for a poem on “The Knights of St John,” which elicited special praise from John Keble. Among his college friends were Arthur Penrhyn Stanley and Roundell Palmer, 1st Earl of Selborne. After graduation he was elected a fellow of the college.

Faber’s family was of Huguenot descent, and Calvinist beliefs were strongly held by them. When Faber had come to Oxford, he was exposed to the Anglo-Catholic preaching of the Oxford Movement which was beginning to develop in the Church of England. One of its most prominent proponents was the popular preacher John Henry Newman, vicar of the University Church of St Mary the Virgin. Faber struggled with these divergent forms of Christian beliefs and life. In order to relieve his tension, he would take long vacations in the Lake District, where he would write poetry. There he was befriended by another poet, William Wordsworth. He finally abandoned the Calvinistic views of his youth and became an enthusiastic follower of Newman.[2][3]

O come and mourn with me awhile; O come ye to the Savior’s side; O come, together let us mourn: Jesus, our Lord, is crucified.

Have we no tears to shed for him, While soldiers scoff and foes deride? Ah! Look how patiently he hangs: Jesus, our Lord, is crucified.

Seven times he spake, seven words of love; And all three hours his silence cried For mercy on the souls of men: Jesus, our Lord, is crucified.

O love of God, O sin of man! In this dread act your strength is tried, And victory remains with love: For he, our Love, is crucified!

Red Service Book and Hymnal
Red Service Book and Hymnal

085.AhHolyJesus

Please turn to number 85 and join with the clarinets in, “Ah, Holy Jesus”.

Number: 85
First Line: Ah, Holy Jesus
Name: HERBSTLIEBSTER JESU.
Meter: 11 11 11, 5.
Tempo: Slowly and solemnly
Music: Johann Cruger, 1598-1662
Text: Johann Heerman, 1585-1647
Tr. Robert Bridges, 1844-1930
Text from The Yattendon Hymnal, edited by Robert Bridges

It appears that Robert Bridges was a rather well known English poet in the early part of the 20th Century.

Robert Seymour Bridges, OM (23 October 1844 – 21 April 1930) was Britain’s poet laureate from 1913 to 1930. A doctor by training, he achieved literary fame only late in life. His poems reflect a deep Christian faith, and he is the author of many well-known hymns. It was through Bridges’ efforts that Gerard Manley Hopkins achieved posthumous fame.

Bridges made an important contribution to hymnody with the publication in 1899 of his Yattendon Hymnal, which he created specifically for musical reasons. This collection of hymns, although not a financial success, became a bridge between the Victorian hymnody of the last half of the 19th century and the modern hymnody of the early 20th century.

His translation of the hymn is a bit Masochistic. I suppose that is very English, as well.

Ah, holy Jesus, how has thou offended,
That man to judge thee hath in hate pretended?
By foes derided, by thine own rejected,
O most afflicted.

Who was the guilty? Who brought this upon thee?
That man to treason, Jesus, hath undone thee.
‘Twas I, Lord Jesus, I it was denied thee:
I crucified thee.

Lo, the good Shepherd for the sheep is offered;
The slave has sinned, and the Son has suffered;
For man’s atonement, while he nothing heedeth,
God intercedeth.

For me, kind Jesus, was thine Incarnation,
Thy mortal sorrow, and they life’s oblation;
Thy death of anguish and thy bitter Passion,
For my salvation.

Therefore, kind Jesus, since I cannot pay thee,
I do adore thee, and will every pray thee,
Think on they pity and thy love unswerving,
Not my deserving. Amen.

Red Service Book and Hymnal
Red Service Book and Hymnal

084.AtTheCrossHerStationKeeping

Please turn to number 84 and join with the clarinets in “At The Cross, Her Station Keeping”.

Number: 84
First Line: At the Cross, her station keeping
Name: STABAT MATER
Meter: 8 8 7. D.
Tempo: Slowly, with dignity
Music: Mainz Gesangbuch, 1661
Text: XIII cent.
Tr. Edward Caswall, 1814-78, and others

Clarinet Arrangement: 084-AtTheCrossHerStationKeeping

The Stabat Mater is a 13th-century Catholichymn to Mary, which portrays her suffering as Jesus Christ‘s mother during his crucifixion. Its author may be either the FranciscanfriarJacopone da Todi or Pope Innocent III.[1][2][3] The title comes from its first line, Stabat Mater dolorosa, which means “the sorrowful mother was standing”.[4]

The hymn is sung at the liturgy on the memorial of Our Lady of Sorrows. The Stabat Mater has been set to music by many Western composers, most famously by Palestrina (~1590), Vivaldi(1712), Domenico (1715) and Alessandro Scarlatti (1723), Pergolesi(1736), Joseph Haydn(1767), Rossini(1831-42), Dvořák(1876–77), Verdi(1896-97), Karol Szymanowski(1925–26), Poulenc(1950) and Arvo Pärt (1985).

I wanted to do something unusual with this rather well known and short hymn.

I played first played through the hymn 3 times at 35bpm. Then I doubled it and played at 70bpm. Finally I finished it playing at 140bpm. I was tempted to add another verse at 280bpm, but that proved a bit elusive.

An interesting exercise, trying to keep the beats in all the parts lined up despite the different tempos.

Red Service Book and Hymnal
Red Service Book and Hymnal

Dealer’s Choice No. 1, 2017.01.21

Notes from a non-drinking bartender.

I see you have coffee liqueur.

Perhaps a cocktail with that.

I feel like it might be better with a Dark Spirit, but I like most spirits.

Surprise me.

Dealer’s Choice No. 1, 2017.01.21

2 oz Bourbon
1/2 oz St. George Coffee Liqueur
1/2 oz Carpano Antica Vermouth
1/4 oz Leopold’s Maraschino Liqueur
2 dash Walnut Bitters

Stir until chilled and strain into a stemmed cocktail glass. No Garnish.

083.BeholdTheLambOfGod

Please turn to number 83 and join with the clarinets in “Behold the Lamb of God”.

Number: 83
First Line: Behold the Lamb of God
Name: WIGAN
Meter: 6 6 6 4, 8 8 4
Tempo: Devotionally
Music: Samuel Sebastian Wesley, 1810-76
Text: Matthew Bridges, 1800-94 a.

Clarinet Arrangement: 083.BeholdTheLambOfGod

This is the first hymn in celebration (if that is the appropriate word) of Good Friday. Supposedly the day Jesus Christ was crucified.

The lyrics are not particularly amazing, but the tune is pretty cool. I always like a minor hymn.

This hymn is a bit challenging for Hymprovisation as it’s kind of hard to exactly tell what the keys should be. It starts in G minor, modulates to G major for a bit, then to (maybe) d major, back to d minor, and finishes in d major. All within the space of 15 measures.

However, you can mostly play in G minor for the whole thing, if you are a bit careful.

Samuel Sebastian Wesley (14 August 1810 – 19 April 1876) was an English organist and composer.

Born in London, he was the eldest child in the composer Samuel Wesley‘s second family, which he formed with Sarah Suter having separated from his wife Charlotte.[1] Samuel Sebastian was the grandson of Charles Wesley. His middle name derived from his father’s lifelong admiration for the music of Bach.

Famous in his lifetime as one of his country’s leading organists and choirmasters, he composed almost exclusively for the Church of England, which continues to cherish his memory.

One notable feature of his career is his aversion to equal temperament, an aversion which he kept for decades after this tuning method had been accepted on the Continent and even in most of England. Such distaste did not stop him from substantial use of chromaticism in several of his published compositions.

While at Winchester Cathedral Wesley was largely responsible for the Cathedral’s acquisition in 1854 of the Father Willis organ which had been exhibited at The Great Exhibition, 1851. The success of the Exhibition organ led directly to the award of the contract to Willis for a 100-stop organ for St George’s Hall, Liverpool built in 1855. Wesley was the consultant for this major and important project, but the organ was, arguably, impaired for some years by Wesley’s insistence that it was initially tuned to unequal temperament.

Wesley, with Father Willis, can be credited with the invention of the concave and radiating organ pedalboard, but demurred when Willis proposed that it should be known as the “Wesley-Willis” pedalboard. However, their joint conception has been largely adopted as an international standard for organs throughout the English-speaking world and those exported elsewhere.

082.ComeToCalvarysHolyMountain

Please turn to number 82 and join with the clarinets in, “Come to Calvary’s Holy Mountain”.

Number: 82
First Line: Come to Calvary’s Holy Mountain
Name: HOLY MOUNTAIN.
Meter: 8 7, 8 7, 7 7.
Tempo: In flowing style
Music: Ludvig M. Lindeman, 1812-87
Text: James Montgomery, 1771-1854

Clarinet Arrangement: 082.ComeToCalvarysHolyMountain

The tune for this one is actually called, “NAAR MIT ØIE” and was composed or arranged by a Norwegian composer and collector of Norwegian folk songs named Ludvig M. Lindeman:

Ludvig Mathias Lindeman was born in Trondheim, Sør-Trøndelag, Norway. He was the seventh of ten children born to Ole Andreas Lindeman (1769–1857) and Anna Severine Hickmann (1782–1844). In 1833 he was sent to Oslo to take his final exams and then studied theology at the university. In 1839, Lindeman succeed his elder brother, Jacob Andreas Lindeman (1805–1846), as cantor and organist of the Oslo Cathedral. Lindeman was in the position for 48 years until his death in 1887.

Lindeman was a contributor to Jørgen Moe‘s song and folk-ballad collection, Samling af Sange, Folkeviser og Stev i norske Alumuedialekter (1840), putting together the melody supplement to the volume at Bishop Moe’s request. The following year, he published his own selection of Norwegian folk melodies, Norske Fjeldmelodier harmonisk bearbeidede for Pianoforte (1841).[2] In 1848, he applied for a university grant to support a trip in the hill country in order to recorded folk melodies. Later he made two collecting trips, in 1851 and 1864. The first trip was to Telemark, Hardanger, Bergen and Hallingdal and the last to Lillehammer. In all, he collected about 3,000 melodies and lyrics. He published Ældre og nyere norske Fjeldmelodier “Earlier and more recent Norwegian mountain melodies,” in twelve-volumes during 1853–1863. This first edition contained 540 melodies, but Lindeman supplemented the corpus with Halvhundrede norske Fjeldmelodier (“Fifty Norwegian maountain melodies,” 1862).[2]

When in 1871, the major new organ in the Royal Albert Hall in London was inaugurated, Lindeman was invited to perform, along with other noted organists including Anton Bruckner and Camille Saint-Saëns. Lindeman was appointed Knight of the Royal Norwegian Order of St. Olav during 1870. Between 1871 and 1875, he published Melodier til Landstads Salmebog, containing music for use within the Church of Norway. In 1873, he was invited to write music for the coronation in Trondheim of King Oscar II of Sweden and Queen Sophie. In 1876, he wrote a cantata for the inauguration of Bygdøy chapel. In 1883, together with his son Peter, he started the Organist School in Oslo. The Conservatory was in operation until 1973, when the Norwegian Academy of Music was established. To honour the memory of the Lindeman family the biggest concert hall at the Academy is named the Lindeman Hall.[3] Ludvig Mathias Lindeman died in Oslo at 75 years of age. He was buried at Oslo Cathedral. In 1912, a bust of Lindeman was erected at the church.[4]

Red Service Book and Hymnal
Red Service Book and Hymnal

081.TheWordsOnTheCross

Please turn to number 81 and join in singing, “The Words on the Cross”.

Number: 81
First Line: Jesus, in thy dying woes
Name: SWEDISH LITANY.
Meter: 7 7, 7 6.
Tempo: Solemnly
Music: Swedish Melody, 1697
Text: Thomas Benson Pollock, 1836-96

Clarinet Arrangement: 081.TheWordsOnTheCross

Along with the words Jesus Christ supposedly uttered on the cross, there are 21 verses to this short hymn.

To get some of the feel for that repetition, I decided I would play the melody once for each spoken part on the cross, and once between each utterance. I also decided I would read the “words on the cross” along with playing the hymn.

Count your lucky stars, it only ends up being 15 times through the hymn.

Red Service Book and Hymnal
Red Service Book and Hymnal

080.DeepWereHisWounds

Please turn to number 80 and join with the clarinets in “Deep Were His Wounds”.

Number: 80
First Line: Deep Were His Wounds
Name: MARLEE.
Meter: 66, 66, 88.
Tempo: Unison. Devotionally with movement
Music: Leland B. Sateren, 1913-
Text: William Johnson, 1906-

Clarinet Arrangement: 080.DeepWereHis_Wounds

Well, this is very definitely an American Lutheran Hymn, as its composer just died in 2007.

Sateren, Leland B. 94, Edina, died Saturday, Nov. 10, 2007. Sateren, a renowned composer and conductor, served as chairman of the Augsburg College Department of Music from 1950 to 1973, and as director of the Augsburg Choir from 1950 until his retirement in 1979. Survived by devoted wife, Pauline; sons, Terry, Mark (Judi), Roald (Shelley); daughter, Kirsten Bergherr (Jon); and grandchildren, Stacy Lindholm (Pete), Anne Sateren Burow (Matt), Ben Bergherr, Sara Bergherr, Erik Sateren, and Anders Sateren. Sateren is also survived by sisters, Margaret Trautwein, Norma (Ray) Anderson, Sylvia (Dean) Elness; and brother, Donald Sateren. The family would like to thank the staff at Redeemer Residence in Minneapolis for their concern and care. Memorial service at 11 am Saturday, Nov. 17 at the Augsburg College Foss Chapel. Visitation will be from 9:30-10:30 am. Memorials preferred to the Leland B. Sateren Choral Scholarship Fund at Augsburg.

The hymn itself appears to be popular in Evangelical Lutheran circles, but not much outside of those, even though it is a pretty neat melody and arrangement.

Red Service Book and Hymnal
Red Service Book and Hymnal

079.ChristTheLifeOfAllTheLiving

Please turn to number 79 and join with the Clarinets in “Christ, The Life of All the Living.

Number: 79
First Line: Christ, the Life of all the Living
Name: JESU, MEINES LEBENS LEBEN.
Meter: 8 7, 8 7, 7 7, 7 7.
Tempo: With dignity and movement
Music: Darmstadt Gesangbuch, 1687
Text: Ernst Christoph Homburg, 1605-81
Tr. Catherine Winkworth, 1829-78 a.

Clarinet Arrangement:079.ChristTheLifeOfAllTheLiving

For the last few hymns, I’ve only been playing the melody part twice. On one of them I play the first and third verse but skip the second. The on the second I’ve been playing the first verse, improvise the second, then play the third.

For this hymn I tried something new, playing the first and third verse for two parts and then adding a third part where I only improvise the second verse.

It’s a little more work, but it gives me more control over the levels of the solo section as it relates to the harmony parts.

It also makes it a little easier to get in the right frame of mind for improvising.

I also had been using embedded soundcloud links to post the songs. Turns out there’s a limit to how many songs you can have for free on soundcloud. So I went back and replaced the soundcloud embeds with mp3s and the native worpress player.

Homburg, Ernst Christoph, was born in 1605, at Mihla, near Eisenach. He practised at Nauraburg, in Saxony, as Clerk of the Assizes and Counsellor. In 1648 ho was admitted a member of the Fruitbearing Society, and afterwards became a member of the Elbe Swan Order founded by Rist in 1660. He died at Naumburg, Juno 2, 1681. (Koch, iii. 388, 392; Allegemeine Deutsche Biographie, xiii. 43, 44.)

By his contemporaries Homburg was regarded as a poet of the first rank. His earlier poems, 1638-1653, were secular, including many love and drinking songs. Domestic troubles arising from the illnesses of himself and of his wife, and other afflictions, led him to seek the Lord, and the deliverances he experienced from pestilence and from violence led him to place all his confidence on God. The collected edition of his hymns appeared in two parts at Jena and Naumburg, 1659, pt. i. as his Geistlicher Lieder, Erster Theil, with 100 hymns [engraved title, Naumburg, 1658]; and pt. ii. as the Ander Theil with 50 hymns. In the preface he speaks of them as his “Sunday labours,” and says, “I was specially induced and compelled” to their composition” by the anxious and sore domestic afflictions by which God…..has for some time laid me aside.” They are distinguished for simplicity, firm faith, and liveliness, but often lack poetic vigour and are too sombre.

This is regarded as Homburg’s most popular hymn, but it is still pretty somber.

1) Christ, the Life of all the living,
Christ the Death of death, our foe,
Who thyself for us once giving
To the darkest depths of woe,
Partiently didst yield thy breath
But to save my soul from death;
Praise and glory every be,
Blessed Jesus, unto thee.

2) Thou, O Christ, hast taken on thee
Bitter strokes, a cruel rod;
Pain and scorn were heaped upon thee,
O thou sinless Son of God,
Only thus for me to win
Rescue from the bonds of sin;
Praise and glory ever be,
Blessed Jesus, unto thee.

3) Thou didst bear the smiting only
That it might not fall on me;
Stoodest falsely charged and lonely
That I might be safe and free;
Comfortless that I might know
Comfort from boundless woe.
Praise and glory ever be,
Blessed Jesus, unto thee.

4) Then for all that wrought our pardon,
For thy sorrows deep and sore,
For thine anguish in the garden,
I will thank the evermore;
Thank thee with my latest breath
For thy sad and cruel death,
For that last and bitter cry
Praise thee evermore on high. Amen.

078.GoToDarkGethsemane

Please turn to number 78 and join with the clarinets in “Go to Dark Gethsemane”.

Number: 78
First Line: Go to Dark Gethsemane
Name: PETRA (REDHEAD NO. 76).
Meter: 7 7, 7 7, 7 7.
Tempo: Moderately slow
Music: Richard Redhead, 1820-1901
Text: James Montgomery, 1771-1854

Clarinet Arrangement: 078.GoToDarkGethsemane

Interestingly, the music to this hymn is better known as one of the tunes to which “Rock of Ages” is sung.

REDHEAD 76 is named for its composer, who published it as number 76 in his influential Church Hymn Tunes, Ancient and Modern (1853) as a setting for the hymn text “Rock of Ages.” It has been associated with Psalm 51 since the 1912 Psalter, where the tune was named AJALON. The tune is also known as PETRA from its association with “Rock of Ages,” and GETHSEMANE, which derives from the text “Go to Dark Gethsemane” (381).

Of the three long lines constituting REDHEAD 76, the last is almost identical to the first, and the middle line has an internal repeat. Well-suited to singing in parts, this music is also appropriate for unaccompanied singing.

The author of the text, James Montgomery, had some interesting years early in his life, but then settled in to an uneventful life of devotion.

Montgomery, James, son of John Montgomery, a Moravian minister, was born at Irvine, Ayrshire, Nov. 4, 1771. In 1776 he removed with his parents to the Moravian Settlement at Gracehill, near Ballymena, county of Antrim. Two years after he was sent to the Fulneck Seminary, Yorkshire. He left Fulneck in 1787, and entered a retail shop at Mirfield, near Wakefield. Soon tiring of that he entered upon a similar situation at Wath, near Rotherham, only to find it quite as unsuitable to his taste as the former. A journey to London, with the hope of finding a publisher for his youthful poems ended in failure; and in 1792 he was glad to leave Wath for Shefield to join Mr. Gales, an auctioneer, bookseller, and printer of the Sheffield Register newspaper, as his assistant. In 1794 Mr. Gales left England to avoid a political prosecution. Montgomery took the Sheffield Register in hand, changed its name to The Sheffield Iris, and continued to edit it for thirty-one years. During the next two years he was imprisoned twice, first for reprinting therein a song in commemoration of “The Fall of the Bastille,” and the second for giving an account of a riot in Sheffield. The editing of his paper, the composition and publication of his poems and hynms, the delivery of lectures on poetry in Sheffield and at the Royal Institution, London, and the earnest advocacy of Foreign Missions and the Bible Society in many parts of the country, gave great variety but very little of stirring incident to his life. In 1833 he received a Royal pension of £200 a year. He died in his sleep, at the Mount, Sheffield, April 30, 1854, and was honoured with a public funeral. A statue was erected to his memory in the Sheffield General Cemetery, and a stained glass window in the Parish Church. A Wesleyan chapel and a public hall are also named in his honour.

Red Service Book and Hymnal
Red Service Book and Hymnal