062a.OChristOurKing

Please turn to number 62 (First Tune) and join with the clarinets in “O Christ, Our King”.

Number: 62 (First Tune)
First Line: O Christ, Our King
Name: CROMER.
Meter: L.M.
Tempo: With breadth, slowly
Music: John Ambrose Lloyd, 1815-74
Text: St. Gregory, 540-604
Tr. Ray Palmer, 1808-87

First, I was unaware that Ray Palmer, The Atom, during one of his time travel jaunts, moolighted as a hymn translater. Well, good on hymn, and way to keep busy.

Second, well, I suppose, I am not playing this slowly. My idea, which I started with anyway, was to “Zorn” the Mother, and I first attempted playing it at 200 bpm. That proved a bit beyond me, so I slowed it down for this attempt to 100 bpm. Still, not exactly “With breadth, slowly”. But whatever. Interestingly, John Ambrose Lloyd kind of had a thing for syncopation, which makes this hymn pretty fun to play, slow or fast.

I did only play it on Soprano Clarinet. I am not quite so dexterous on the bass clarinet.

Here’s the clarinet arrangement: 062-ochristourking

Red Service Book and Hymnal
Red Service Book and Hymnal

061b.SingMyTongue

Please turn to Number 61 (Second Tune) and join with the clarinets in “Sing, My Tongue”.

Number: 61
First Line: Sing, My Tongue
Name: ST. THOMAS (Hollywood).
Meter: 8 7, 8 7, 8 7.
Tempo: Slowly and majestically
Tune: Traditional Melody, 18th Cent.
Text: Venantius Fortunatus, 530-609
Tr. John Mason Neale, 1818-66 a.

Now this is a sort of funny hymn to find in a Lutheran Hymnal, it is, apparently, VERY Catholic, in fact, part of the Liturgy of the Catholic Church. From the wikipedia article on Venantius Fortunatus.

Venantius Honorius Clementianus Fortunatus (c. 530 – c. 600/609 AD) was a Latinpoet and hymnodist in the Merovingian Court, and a Bishop of the Early Church. He was never canonised—no saint was canonised till Saint Ulrich of Augsburg in 993[1]—but he was venerated as Saint Venantius Fortunatus during the Middle Ages.[2]

Fortunatus is best known for two poems that have become part of the liturgy of the Catholic Church, the Pange Lingua Gloriosi Proelium Certaminis (“Sing, O tongue, of the glorious struggle”), a hymn that later inspired St Thomas Aquinas‘s Pange Lingua Gloriosi Corporis Mysterium. He also wrote Vexilla Regis prodeunt (“The royal banners forward go”), which is a sequence sung at Vespers during Holy Week. This poem was written in honour of a large piece of the True Cross, which explains its association also with the feast of the Exaltation of the Holy Cross. The relic had been sent from the Byzantine EmperorJustin II to Queen Radegund of the Franks, who after her husband Chlotar I‘s death had founded a monastery in Poitiers. The Municipal Library in Poitiers houses an 11th-century manuscript on the life of Radegunde, copied from a 6th-century account by Fortunatus.

In his time, Fortunatus filled a great social desire for Latin poetry. He was one of the most prominent poets at this point, and had many contracts, commissions and correspondences with kings, bishops and noblemen and women from the time he arrived in Gaul until his death. He used his poetry to advance in society, to promote political ideas he supported, usually conceived of by Radegunde or by Gregory, and to pass on personal thoughts and communications. He was a master wordsmith and because of his promotion of the church, as well as the Roman tendencies of the Frankish royalty, he remained in favour with most of his acquaintances throughout his lifetime.

I should also point out that we have now passed into the Lenten season, the most solemn of Christian seasons.

Lent (Latin: Quadragesima: Fortieth) is a solemn religious observance in the liturgical calendar that begins on Ash Wednesday and ends approximately six weeks later, before Easter Sunday. The purpose of Lent is the preparation of the believer through prayer, doing penance, repentance of sins, almsgiving, atonement, and self-denial. This event is observed by Christians in the Anglican, Eastern Orthodox, Lutheran, Methodist, and Roman Catholic Churches.[1][2][3] Some Anabaptist and evangelicalchurches also observe the Lenten season.[4][5] Its institutional purpose is heightened in the annual commemoration of Holy Week, marking the death, burial, and resurrection of Jesus, which recalls the tradition and events of the New Testament beginning on Friday of Sorrows, further climaxing on Jesus’ crucifixion on Good Friday, which ultimately culminates in the joyful celebration on Easter Sunday of the Resurrection of Jesus Christ.
In Lent, many Christians commit to fasting or giving up certain types of luxuries as a form of penance. Many Christians also add a Lenten spiritual discipline, such as reading a daily devotional, to draw themselves near to God.[6] The Stations of the Cross, a devotional commemoration of Christ’s carrying the Cross and of his execution, are often observed. Many Roman Catholic and some Protestant churches remove flowers from their altars, while crucifixes, religious statues, and other elaborate religious symbols are often veiled in violet fabrics in solemn observance of the event. Throughout Christendom, some adherents mark the season with the traditional abstention from the consumption of meat, most notably among Roman Catholics.[7]

Lent is traditionally described as lasting for forty days, in commemoration of the forty days Jesus spent fasting in the desert, according to the Gospels of Matthew, Markand Luke, before beginning his public ministry, after which he endured temptation by the Devil.[8][9]

Here’s the clarinet arrangement of the hymn: 061-singmytongue

Back to the usual doubling of all parts, three times through. Audacity “Large Room” Reverb Effect applied.

Red Service Book and Hymnal
Red Service Book and Hymnal

061a.SingMyTongue

Please turn to number 61 (First Tune) and join with the clarinets on “Sing, My Tongue”.

Number: 61 (First Tune)
First Line: Sing, My Tongue
Name: PANGE LINGUA.
Meter: 8 7, 8 7.
Tempo: In unison
Music: Plainsong Melody, Mode III
Arr. Ernest White
Text: Venantius Fortunatus, 530-609
Tr. John Mason Neale, 1813-66 a.

One of these days, I have to figure out this whole Plainsong and Mode thing. And I guess today is the day.

Plainsong is based on the whole notes of the C Major scale. Mode III, means the scale used for the piece starts on the third whole note of the C Major scale, E. the scale looks like this: E, F, G, A, B, C, D, E

So, untransposed, “Sing, My Tongue”‘s melody is composed of only those notes in varying combinations.

This is also called, “Phrygian Mode”.

Transposed, it ends up in the key of D, or two sharps.

Here’s the clarinet music: 061-singmytongue

The phrasing, though, and the harmonies are a bit difficult, since the meter of the piece doesn’t quite follow modern conventions. The piece starts in 6/8, moves to 5/8, and finishes in 7/8. Not only that, but the different parts don’t really follow the same phrasing or meter. It makes it kind of tough to find a sensible way through.

I’ve struggled with these pieces before and think I am finally beginning to find my way to make them interesting, by using accents where the phrasing of the different parts align.

In any case, this time I elected to multiply the piece’s depth, rather than length. I only played through once, but I recorded each part 4 times. Soprano Clarinet only. Audacity “Large Room” Reverb Effect. Hey! It’s a Gregorian Chant, fer cripes sake, it should have some reverb!

Red Service Book and Hymnal
Red Service Book and Hymnal

060.HowBlessedFromTheBondsOfSin

Please turn to number 60 and join with the clarinets in “How Blessed From the Bonds of Sin”.

Number: 60
First Line: How Blessed From the Bonds of Sin
Name: RELEASE.
Meter: C.M.D.
Tempo: Broadly
Music: Danish Melody
Text: Karl Johann Phillipp Spitta, 1801-59
Tr. Jane Borthwick, 1813-97

Another “folky” hymn, the last in the section of hymns for “Septuagesima to Lent”.

I had to look up “Septuagesima”, as I don’t remember it being covered in Lutheran Confirmation classes.

Septuagesima (in full, Septuagesima Sunday) is the name for the ninth Sunday before Easter, the third before Ash Wednesday. The term is sometimes applied also to the period commonly called Shrovetide (the Pre-Lenten Season) that begins on this day and ends on Shrove Tuesday, the day before Ash Wednesday, when Lent begins.

The other two Sundays in this period of the liturgical year are called Sexagesima and Quinquagesima, the latter sometimes also called Shrove Sunday. The earliest date on which Septuagesima Sunday can occur is January 18 (Easter falling on March 22 in a non-leap year) and the latest is February 22 (Easter falling on April 25 in a leap year).

Old dogs, learning new tricks.

Clarinet Arrangement:060-howblessedfromthebondsofsin

All clarinets, this time. Doubled each part, twice through. Audacity “Medium Room” Reverb Effect applied.

Red Service Book and Hymnal
Red Service Book and Hymnal

059.HarkTheVoiceOfJesusCrying

Please turn to number 59 and join with the Saxophones in, “Hark! The Voice of Jesus Crying”.

Number: 59
First Line: Hark! The Voice of Jesus Crying
Name: JESU.
Meter: 8 7, 8 7. D.
Tempo: In moderate time
Music: Gustaf Düben, 1671-1730
Text: Daniel March, 1816-1909

You would think, from the first line that Jesus would be sad about something, but actually it is more of a shout or call.

Hark! The voice of Jesus Crying,
‘Who will go to work today?
Fields and harvests waiting,
Who will bear the sheaves away?’
Loud and long the Master calleth,
Rich reward he offers free;
Who will answer gladly saying,
‘Here am I; send me, send me?’

If you cannot speak like angels,
If you cannot preach like Paul,
You can tell the love of Jesus,
You can say he died for all.
If you cannot rouse the wicked
With the judgement’s dread alarms,
You can lead the little children
To the Savior’s waiting arms.

Let non hear you idly saying,
‘There is nothing I can do,’
While the souls of men are dying,
And the Master calls for you:
Take the task he gives you gladly,
Let his work your pleasure be;
Answer quickly when he calleth,
‘Here am I; send me, send me.’

Kind of a weird, inspirational, aspirational, aphorism of a hymn.

Anyway, for some reason, I felt like this tune was more of a “Saxophone” kind of tune, than a clarinet kind of tune. Something about the harmonies.

Sax arrangement: 059-harkthevoiceofjesuscrying

Doubled each part, two times through. Audacity “Medium Room” Reverb Effect.

Red Service Book and Hymnal
Red Service Book and Hymnal

058.AlleluiaSongOfSweetness

Please turn to number 58 and join with the clarinets in, “Alleluia, Song of Sweetness”.

Number: 58
First Line: Alleluia, Song of Sweetness
Name: TANTUM ERGO (DULCE CARMEN).
Meter: 8 7, 8 7, 8 7.
Tempo: With dignity
Music: Essay on the Church Plain Chant, 1782
Text: Medeival Latin Hymn
Tr. John Mason Neale, 1818-66 a.

This hymn is a bit of a puzzle.

The first component is the name, “TANTUM ERGO”. Tantum Ergo is usually hymn based on a super old text attributed to St. Tomas Aquinas. But the text of this hymn, doesn’t match that hymn.

The second part of the name, “DULCE CARMEN” is a tune attributed to someone named Michael Haydn from a book called, “‘Essay on the Church Plain Chant,” 1782; Melody from Samuel Webbe’s Motetts or Antiphons, 1792’. OK, that makes sense, and the tune of Haydn’s Dulce Carmen does match this Hymn.

FYI: Michael Haydn was an Austrian composer who lived from 14 September 1737 – 10 August 1806. He was the younger brother of the much more famous Joseph Haydn.

The text of the hymn, though, is a bit more confusing. There is an Anglican Hymn called “Alleluia, Song of Sweetness”, but the words don’t match this hymn. However, there is another hymn called “Alleluia, Song of Gladness” whose text DOES (mostly, other than the Sweetness/Gladness swap) match this hymn and which is often set to Michael Haydn’s DULCE CARMEN.

Alleluia, dulce carmen. [Week before Septuagesima.] The earliest form in which this hymn is found is in three manuscripts of the 11th century in the British Museum. From a Durham manuscript of the 11th century, it was published in the Latin Hymns of the Anglo-Saxon Church (Surtees Society), 1851, p. 55. The text is in Daniel, i. No. 263, and with further readings in iv. p. 152; and in the Hymnarium Sarisuriense, 1851, p. 59. [Rev. W. A. Shoults, B.D.]

Translations in common use:—
3. Alleluia! song of sweetness. Voice of joy, eternal lay. By J. M. Neale. It appeared in the first edition Mediaeval Hymns, 1851, p. 130, in 4 stanzas of 6 lines, and was “corrected for the Hymnal Noted.” Mediaeval Hymns, 2nd ed. p. 184), where it was given in its new form, in 1852, No. 46, and again in the 2nd ed. of the Mediaeval Hymns, 1863. This translation equals in popularity that of Chandler, but it is more frequently and extensively altered. Without noticing minor instances, we find the following: “Alleluia, song of sweetness,Voice of joy that cannot die” in Hymns Ancient & Modern, 1861 and 1875, and many others. “Hallelujah! song of gladness, Voice of joy that cannot die” in Thring’s Collection, 1882, &c. Of these altered forms of Neale’s text, that of Hymns Ancient & Modern, is most frequently adopted.

Whew! All that work for a not very complicated hymn.

Clarinet Arrangement: 058-alleluiasongofsweetness

The usual doubling of each part. Twice through. Audacity “Medium Room” Reverb Effect.

Red Service Book and Hymnal
Red Service Book and Hymnal

057.BrightAndGloriousIsTheSky

Please turn to number 57 and join with the clarinets in, “Bright and Glorious is the Sky.”

Number: 57
First Line: Bright and Gloriuos is the Sky
Name: CELESTIA.
Meter: 7 7, 8 8, 7 7.
Tempo: Brightly
Music: Danish Melody
Text: Nikolai F. S. Gruntvig, 1783-1872
Hymnal Version, 1955

The first sections of hymns in this version of the Lutheran Service Book and Hymnal are arranged by the major events during the year, in the order they occur.

ADVENT: Nov 30 – December 21. Days and events leading up to the celebrated day of the birth of Christ.
CHRISTMAS: December 25 – January 1. The celebrated birth of Christ.
EPIPHANY: January 6 – February 24. The revelation of the birth of Christ to the Three Kings and the world.
LENT: 40 days leading up to Easter. Days and events leading up to the crucifixion of Christ.
EASTER: March 25 – May 1. Christ rises from the dead.
PENTECOST: June 24 – November 1. Events after Easter, when the holy spirit descended on the apostles and they took up his word to reveal it to the world.

This is the last hymn of the Epiphany season and its melody is a Danish folk song of some sort.

Clarinet arrangement: 057-brightandgloriousisthesky

The hymn is fairly cheery. Doubled all 4 parts on clarinet. Three times through, with different emphasis. Audacity “Medium Room” Reverb effect.

Red Service Book and Hymnal
Red Service Book and Hymnal

056.OOneWithGodTheFather

Please turn to number 56 and join with the clarinets in, “O One with God the Father.”

Number: 56
Name: ROTTERDAM.
Meter: 7 6, 7 6. D.
Tempo: With movement
Music: Berthold Tours, 1828-97
Text: William Walsham how, 1823-97

A fairly generic hymn, perhaps the most interesting thing about it is the phrasing, which is evenly divided into 8 beats each phrase. Yet somehow, the way the notes and measures are divided makes it seem almost syncopated.

Clarinet arrangement: 056-oonewithgodthefather

Doubled each part, no saxophones, three times through. Applied Audacity “Medium Room” Reverb effect.

Red Service Book and Hymnal
Red Service Book and Hymnal

055.SongsOfThankfulness

Please turn to number 55 and join with the woodwinds in “Songs of Thankfulness”.

Number: 55
First Line: Songs of Thankfulness and Praise
Name: TICHFIELD
Meter: 7 7, 7 7. D.
Tempo: In moderate time
Music: John Richardson, 1816-79
Text: Christopher Wordsworth, 1807-85

Another very “folky” tune. Simple.

Clarinet Arrangement: 055-songsofthankfulness

This one felt like it needed a Soprano Sax. Only once on each instrument, three times through. Audacity “Medium Room” Reverb effect.

Red Service Book and Hymnal
Red Service Book and Hymnal

054b.OThouWhoByAStar

Please turn to number 54 (Second Tune) and join with the clarinets in “O Thou, Who by a Star”.

Number: 54 (Second Tune)
First Line: O Thou, Who by a Star
Name: ST. LEONARD.
Meter: C.M.D.
Tempo: In moderate time
Music: Henry Hiles, 1826-1904
Text: John Mason Neale, 1818-66

In the previous tune, the arranger pretty much used a quarter note per word. In this version, the arranger uses a note for every syllable, turning what was an 8 measure tune into a 16 measure tune. I would also say the style of Henry Hiles’ composition is much more influenced by what was contemporary music (at the time) than was Thomas Clark.

Clarinet Arrangement: 054b-othouwhobyastar

Due to the delicate nature of Hile’s harmonies, I only tracked each part once. Applied the Audacity “Medium Room” Reverb effect.

There isn’t always a lot of room, or call for, dynamic variation in the tunes of the hymns. This one strikes me as being a tad romantic, so I tried to reflect that in my playing.

It’s funny, how, depending on how they are played, the same intervals can sound “wrong” or “right”. It took a fair bit of effort to get some of the more unusual intervals in this tune to sound “right”, but in the end I’m pretty pleased with how it came out.

Red Service Book and Hymnal
Red Service Book and Hymnal