Please turn your hymnals to number 147 (First Tune) and join with the clarinets in, “O Wondrous Type, O Vision Fair”.
Number: 147 (First Tune)
First Line: O Wondrous Type, O Vision Fair
Name: CONDITOR ALME SIDERUM.
Music: Mode IV
Arr. by Ernest White
Text: Latin Hymn, XV cent.
Tr. John Mason Neale, 1818-66 a.
Boy, I’m starting to get psyched! I’m almost done with the Church Year. Only two more songs to go after this one!
I started this project in March of 2016, (with “Hark! A Thrilling Voice is Sounding“,) nominally with the goal of getting through the songs of the Church Year. It did take a bit more than a year, but what can you do. But, boy, my clarinet playing and recording has come a long way in that year.
It has been a super helpful exercise.
After finishing with the Church Year, I’ll probably take a break from hymns. Maybe try a bit more arranging. So expect fewer updates, as that will be more work.
This is a pretty typical Edmund White take on a Latin chant. In a lot of ways, these hymns are the most challenging in the book. The parts are far less symmetrical than most modern hymns.
This posthumously released recording of Coltrane’s “classic quartet”, (Coltrane, Jimmy Garrison, Elvin Jones, and McCoy Tyner,) is viewed as a transitional album, between Coltrane’s modal and devotional work of the early 60s and the more ecstatic devotional work of the mid to late 60s. (Also, Impulse redid the track listings for the CD reissue, replacing “Dear God” with “Welcome” and “Vigil” from the same sessions, but originally released on the Kulu Sé Mama album.) The soloing on Transition isn’t really so far from that on “The John Coltrane Quartet Plays”, it’s more that the extended songs, “Transition” and “Suite”, discard most of the traditional Jazz trappings of “head-solo-head” for a more organic approach. An extension of “A Love Supreme”, really.
Please turn your hymnals to number 146 (Second Tune) and join the clarinets in, “In Heaven Above”.
Number: 146 (Second Tune)
First Line: In Heaven Above
Meter: 8 6, 8 6, 8 8 6.
Tempo: With movement
Music: Norwegian Folk Melody
Text: Laurentius Laurentii Laurinus, 1573-1655
Revised Johan Åström, 1767-1844
Tr. William Maccall, 1812-88
This is actually a pretty fun arrangement with counter movement in both the bass and tenor parts.
I don’t know that it is a particularly well known hymn melody, it is only used for this hymn that I can tell, and I can only find the information from the hymnal about it, that it is a, “Norwegian Folk Melody”. Not knowing enough about Norwegian Folk Melodies, I can’t tell you more than that.
Without more information, I am going to guess that this song might be named after Hans Nielsen Hauge, based on the following:
Hans Nielsen Hauge (3 April 1771 – 29 March 1824) was a 19th-century Norwegian Lutheran lay minister, spiritual leader and author. He led a noted Pietism revival known as the Haugean movement. Hauge is also considered to have been influential in the early industrialization of Norway.
He had a poor and otherwise ordinary youth until 5 April 1796, when he received his “spiritual baptism” in a field near his farm. Within two months, he had founded a revival movement in his own community, written a book, and decided to take his mission on the road. He wrote a series of books in his lifetime. In a total of 18 years, he published 33 books. Estimates are that 100,000 Norwegians read one or more of them, at a time when the population was 900,000 more-or-less literate individuals.
In the next several years, Hauge traveled – mostly by foot – throughout most of Norway, from Tromsø in the north to Norway in the south. He held countless revival meetings, often after church services. In addition to his religious work, he offered practical advice, encouraging such things as settlements in Northern Norway. He and his followers were persecuted, though their teachings were in keeping with Lutheran doctrine. He began preaching about “the living faith” in Norway and Denmark after a mystical experience that he believed called him to share the assurance of salvation with others. At the time, itinerant preaching and religious gatherings held without the supervision of a pastor were illegal, and Hauge was arrested several times.
Hauge faced great personal suffering and state persecution. He was imprisoned no less than 14 times between 1794 and 1811, accused of witchcraft and adultery, and of violating the Conventicle act of 1741 (at the time, Norwegians did not have the right of religious assembly without a Church of Norway minister present). His time in prison broke his health and led to his premature death. Upon his release from prison in 1811, he took up work as a farmer and industrialist at Bakkehaugen near Christiania (now Oslo).
In 1815, he married Andrea Andersdatter, who later died in childbirth that same year. In 1817, he married Ingeborg Marie Olsdatter (1791-1872) and bought the Bredtvet farm (now the site of Bredtvet Church in Oslo) where he died. Three of his four children died in infancy. His surviving son, Andreas Hauge, became a priest in the Church of Norway and Member of the Norwegian Parliament.
Moreover, the name Hauge seemed familiar to me, as in “Hauge Church”, from when I was growing up in Wisconsin.
Notes: Also known as Hauge Lutheran Old Church. Before 1850 the pioneers of Perry Township had no way of liturgical worship.. In 1850 the congregation relied on circuit preachers. On March 28, 1851, the first formal Norwegian worship was held. The congregation decided to build a 20’ x 20’ building. The building was comprised of logs and constructed in 1852.
During its early years dissension grew among the members over the form their worship should take. Those who were interested in change to a less formalized service before they left Norway and were followers of the Haugean Movement and those who wanted the formal “high-church” style of the state church of Norway. At a meeting held in November of 1854, the faction loyal to the State Church of Norway voted to form its own congregation. The settlers who chose to remain with the 1852 congregation affiliated with the Evangelical Lutheran Church in America and later became known as the Hauge Congregation. In 1927 the original 1852 church building was restored. The church is on the National Register of Historic Places.
I thought, for sure, with a name like “Laurentius laurentii Laurinus” there would be something about this guy. But this is it. He was a Swedish Rector, Dean, and poet.
In any case, it is a nice hymn!
Short Name: Laurentius Laurentii Laurinus
Full Name: Laurinus, Laurentius Laurentii, 1573-1655
Birth Year: 1573
Death Year: 1655
Laurinus became a principal in Söderköping, Sweden, in 1603, and in 1609, a rector in Haradshammar in Linköping diocese, Östergötland, later a dean. But he was known as a poet in the Swedish, German and Latin languages.
Mrs Flannestaed disapproves of this particular exercise in nostalgia, but I enjoy it.
My understanding of the Wrangler project is that one of the members (Benge) has a junkyard (or museum) of pre-digital electronic instruments and effects units. Stephen Mallinder (1/3 of the band Cabaret Voltaire) was visiting, and they got the idea to form a band using these instruments as sound sources.
If, like me, you have some nostalgic fondness for Microphonies era Cabaret Voltaire, you may enjoy this. Otherwise, it will probably not do much for you.
A pleasantly minor, and old-fashioned hymn, especially considering its relative youth.
Especially unusual, for a Lutheran Hymn, in that it is 5/4, an “uneven” meter more common in folk music. On the other hand, not all that surprising considering the following information about the composer. (The following was translated from the Finnish language wikipedia.)
Already in his studies, Nyberg collected folk tales from Southwest and Central Finland.He composed, in particular, spiritual solo and choir songs, school and children’s songs, singers and beggars in the choir book of the Finnish Evangelical Lutheran Church . The current hymnbook contains Nyberg’s hymn number 631, Oi Lord, if I travel a country .He has also written a script 342, so wonderful is the praise, the original Swedish-language words, spoken by Alpo Noponen in Finnish.In addition, Nyberg has translated some other, original Swedish-language hymns  Nyberg published in 1890 a collection of spiritual folk tales ( The People’s Gift to the Church ) together with Ilmari Krohn.
Bells For The South Side (Disc 2) by Roscoe Mitchell.
When we lived in Madison, WI, Roscoe Mitchell was a professor in the music department at the University of Wisconsin. He would frequently bring the groups he was involved in through town, and I was lucky to see many permutations of his sound.
We were also lucky to be close enough to Chicago that it was close enough to drive down and see many more concerts related to the Association for the Advancement of Creative Musicians (AACM). The concerts documented on this recording were recorded as part of an exhibit, called The Freedom Principle, at the Museum of Contemporary Art celebrating the contributions of artists associated with the AACM to world culture.
Roscoe Mitchell, and the AACM, have been a huge part of my musical mind space for many years, and this release is a sort of summary of his work, from what has passed, to what is to come.
Bells For The South Side (Disc 1) by Roscoe Mitchell.
At some point, during the first track on this album, “Spatial Aspects of Sound”, I found myself asking, “What differentiates a discrete series of sound events from music?” Which reminded me of a workshop I attended with Ben Goldberg, where we talked about using silence, as well as sound, with intent, in your playing.