145 – The Saints of God

Please turn your hymnals to number 145 and join with the clarinets in, “The Saints of God”.

Number: 145
First Line: The Saints of God
Name: NYBERG.
Meter: 8 8, 8 8, 8 8.
Tempo: Smoothly
Music: Berndt Mikael Nyberg, 1871-1940
Text: William Dalrymple Maclagan, 1826-1910

Clarinet Arrangement: 145-TheSaintsOfGod

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.)

Berndt Mikael Nyberg ( February 7,1871Helsinki – January 11,1940Äänekoski ) [1] was a Finnish composer and poet who composed especially spiritual music.

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 . [2] 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 [3] Nyberg published in 1890 a collection of spiritual folk tales ( The People’s Gift to the Church ) together with Ilmari Krohn.

Red Service Book and Hymnal
Red Service Book and Hymnal

144b – For All the Saints

Please turn your hymnals to number 144 (Second Tune) and join with the clarinets in, “For All the Saints Who From Their Labors Rest”.

Number: 144 (Second Tune)
First Line: For All The Saints Who From Their Labors Rest
Name: PRO OMNIBUS SANCTIS (SARUM).
Meter: 10 10 10, 4.
Tempo: Broadly, with spirit
Music: Joseph Barnby, 1838-86
Text: William Walsham How, 1823-97

Clarinet Arrangement: 144b-ForAllTheSaintsWhoFromTheirLaborsRest

This is another rather harmonically modern hymn arrangement. Very close, almost dissonant harmonies, with an unusually lingering resolution.

Considering it’s composer seems to have been rather fond of Wagner, I guess this isn’t a surprise.

Short Name: Joseph Barnby
Full Name: Barnby, Joseph, 1838-1896
Birth Year: 1838
Death Year: 1896
Barnby was a composer, conductor and (like his father Thomas Barnby) an organist. He entered the choir of York Minster at age seven, and was an organist and choirmaster at twelve. In 1854 he went to London and entered the Royal Academy of Music, where he studied under Cipriani Potter and Charles Lucas. In 1856, he competed for the first Mendelssohn Scholarship. When the examinations were over, of the nineteen applicants, he was tied for first place with Arthur Sullivan. After a second test, Sullivan won.

Barnby was organist at Mitcham, St. Michael’s, Queenhithe, and St. James’ the Less, Westminster, before he was appointed to St. Andrew’s, Wells Street, where he remained from 1863 to 1871, establishing the musical reputation of the services. From 1871 to 1886 he was organist of St. Anne’s, Soho, where he instituted the annual performances of Bach’s Passion Music according to St. John, with orchestral accompaniment. In 1867, Messrs. Novello, to whom he had been musical adviser since 1861, established Barnby’s Choir, which gave oratorio concerts from 1869 to 1872, when it was amalgamated with the choir formed and conducted by M. Gounod at the Royal Albert Hall, under the title of the Royal Albert Hall Choral Society (now the Royal Choral Society). The same publishing firm also gave daily concerts in the Albert Hall, 1874-75, which Barnby orchestrated.

Barnby conducted the St. Matthew Passion in Westminster Abbey in 1871. He was appointed precentor of Eton in 1875, a post he kept until 1892, when he succeeded Thomas Weist-Hill as principal of the Guildhall School of Music.

In 1878, Barnby married Edith Mary Silverthorne. Also that year, he helped found the London Musical Society, becoming its first director and conductor. Under his baton, the Society produced Dvorak’s Stabat Mater for the first time in England.

In 1884, Barnby conducted the first performance in England of Wagner’s Parsifal as a concert in the Albert Hall. From 1886-8 he conducted rehearsals and concerts of the Royal Academy of Music, of which he was a fellow.

Barnby was knighted in 1892, and in the same year conducted the Cardiff Festival. He conducted the festival again in 1895.

Barnby’s compositions include an oratorio (Rebekah, 1870), a psalm (The Lord Is King, Leeds Festival, 1893), an enormous number of services and anthems, part songs and vocal solo, trios, etc. He also wrote a series of Eton Songs, 246 hymn tunes (published in one volume in 1897), and edited five hymnals, the most important of which was The Hymnary (1872).

Red Service Book and Hymnal
Red Service Book and Hymnal

143 – Hark! The Sound of Holy Voices

Please turn your hymnals to number 143 and join with the clarinets in, “Hark! The Sound of Holy Voices”.

Number: 143
First Line: Hark! The Sound of Holy Voices
Name: DEERHURST.
Meter: 8 7, 8 7. D.
Tempo: In moderate time
Music: James Langran, 1835-1909
Text: Christopher Wordsworth, 1807-85 a.

Clarinet Arrangement: 143-HarkTheSoundOfHolyVoices

The harmony on the third stanza of this one is so close for a hymn, I had to go back and double check my work several times. But, yes, that is the way it is written in the hymnal. Don’t know what to tell you. I guess James Langran was a little odd for his time. Either that or it’s typos.

James Langran
Born: November 10, 1835, St. Pancras, London, England.
Died: June 8, 1909, Tottenham, London, England.

A pupil of John Calkin, Langran was tutored as organist at St. James’s Church, Edmonton (London). He then served as organist at St. Michael’s, Wood Green (June 1856); Holy Trinity, Tottenham (1859); Parish Church, All Hallows, Tottenham (1870); and St. Paul’s, Tottenham (1870-1909). He was also Instructor to the Training College for Schoolmistresses, Tottenham, from its foundation around 1880, and received a Bachelor of Music degree from Oxford in 1884.

Red Service Book and Hymnal
Red Service Book and Hymnal

142 – In His Temple Now Behold Him

Please turn your hymnals to number 142 and join with the clarinets in, “In His Temple Now Behold Him”.

Number: 142
First Line: In His Temple Now Behold Him
Name: MANNHEIM.
Meter: 8 7, 8 7, 8 7.
Tempo: In stately rhythm
Music: Friedrich Filitz, 1804-76
Text: Henry James Pye, 1825-1903

Clarinet Arrangement: 142-InHisTempleNowBeholdHim

This hymn is in celebration of something called, “The Presentation”. From the lyrics, perhaps we can gain a clue.

In his temple now behold him,
See the log expected Lord;
Ancient prophets had foretold him,
God has now fulfilled his word.
Now to praise him, his redeemed
Shall break forth with one accord.

In the arms of her who bore him,
Virgin pure, behold him lie,
While his aged saints adore him,
Ere in perfect faith they die.
Alleluia! Alleluia!
Lo, the incarnate God Most High!

Jesus, by thy Presentation,
Thou who dids’t for us endure,
Make us see thy great salvation,
Seal us with thy promise sure;
And present us, in thy glory,
To thy Father, cleansed and pure. Amen.

Hm, a little creepy, and not entirely clear.

Off to google, then.

The Presentation of Jesus at the Temple is an early episode in the life of Jesus that is celebrated by the Church on the holiday of Candlemas. It is described in the Gospel of Luke of the New Testament in the Christian Bible.[1] Within the account, “Luke’s narration of the Presentation in the Temple combines the purification rite with the Jewish ceremony of the redemption of the firstborn (Luke 2:23-24).”[2]

In the Eastern Orthodox Church, the presentation of Jesus at the temple is celebrated as is one of the twelve Great Feasts, and is sometimes called Hypapante (Ὑπαπαντή, lit., “Meeting” in Greek). In Western Christianity, the traditional name for the day is Candlemas, which is also known as the Feast of the Purification of the Virgin, and the Meeting of the Lord. In some liturgical churches, Vespers (or Compline) on the Feast of the Presentation marks the end of the Epiphany season. In the Church of England, the Mother Church of the Anglican Communion, the Presentation of Christ in the Temple is a Principal Feast celebrated either on 2 February or on the Sunday between 28 January and 3 February. In the Catholic Church, the Presentation is the fourth Joyful Mystery of the Rosary.

In the Latin Rite of the Catholic Church, the Anglican Communion and the Lutheran Church, the episode was also reflected in the once-prevalent custom of churching new mothers forty days after the birth of a child.

I guess this is more of a “Minor Festival” sort of hymn.

Red Service Book and Hymnal
Red Service Book and Hymnal

141 – For All the Saints

Please turn your hymnals to number 141 and join with the clarinets in, “For All the Saints”.

Number: 141
First Line: For All the Saints
Name: ST. MICHAEL (OLD 134th).
Meter: S.M.
Tempo: With dignity
Music: Genevan Psalter
Text: Richard Mant, 1776-1848

Clarinet Arrangement: 141-ForAllTheSaints

Having finished the hymns for “Trinity Sunday”, we are off to a sort of odds and ends section of the Lutheran Service Book and Hymnal called, “Saints’ Days and Minor Festivals”.

Along with the tune for “Old 100th”, the tune for “Old 134th” is also attributed to French composer Louis Bourgeois.

Loys “Louis” Bourgeois (French: [buʁʒwa]; c. 1510 – 1559) was a French composer and music theorist of the Renaissance. He is most famous as one of the main compilers of Calvinisthymn tunes in the middle of the 16th century. One of the most famous melodies in all of Christendom, the Protestantdoxology known as the Old 100th, is commonly attributed to him.

Louis Bourgeois is the one most responsible for the tunes in the Genevan Psalter, the source for the hymns of both the Reformed Church in England and the Pilgrims in America. In the original versions by Bourgeois, the music is monophonic, in accordance with the dictates of John Calvin, who disapproved not only of counterpoint but of any multiple parts; Bourgeois though did also provide four-part harmonizations, but they were reserved for singing and playing at home. Many of the four-part settings are syllabic and chordal, a style which has survived in many Protestant church services to the present day.

Of the tunes in the Genevan Psalter, some are reminiscent of secular chansons, others are directly borrowed from the Strasbourg Psalter; The remainder were composed by successively Guillaume Franc, Louis Bourgeois and Pierre Davantès. By far the most famous of Bourgeois’ compositions is the tune known as the Old 100th.

This one definitely seems like a “Saints” sort of hymn.

Like Old 100th, this tune is pretty great and lends itself to rhythmic and harmonic re-interpretation. I’d dedicate this version below to one of my “Saints”, Saint Sonny Rollins, for his tune, “St Thomas”.

Red Service Book and Hymnal
Red Service Book and Hymnal

140 – Father of Heaven

Please turn your hymnals to number 140 and join the clarinets in, “Father of Heaven”.

Number: 140
First Line: Father of Heaven
Name: RIVAULX.
Meter: L.M.
Tempo: In moderate time
Music: John Bacchus Dykes, 1823-76
Text: Edward Cooper, 1770-1833

Clarinet Arrangement: 140-FatherOfHeaven

Woo, finished with Trinity Sunday hymns! Though, uh, oops, Trinity Sunday was June 11, so I am almost a month late.

Well, as they say, better late than never.

History

In the early Church, no special Office or day was assigned for the Holy Trinity. When the Arian heresy was spreading, the Fathers prepared an Office with canticles, responses, a Preface, and hymns, to be recited on Sundays. In the Sacramentary of St. Gregory the Great (P.L., LXXVIII, 116) there are prayers and the Preface of the Trinity. The Micrologies (P.L., CLI, 1020), written during the pontificate of Gregory VII (Nilles, II, 460), call the Sunday after Pentecost a Dominica vacans, with no special Office, but add that in some places they recited the Office of the Holy Trinity composed by Bishop Stephen of Liège (903-20). By others the Office was said on the Sunday before Advent. Alexander II (1061–1073), refused a petition for a special feast on the plea, that such a feast was not customary in the Roman Church which daily honoured the Holy Trinity by the Gloria Patri, etc., but he did not forbid the celebration where it already existed. John XXII (1316–1334) ordered the feast for the entire Church on the first Sunday after Pentecost. A new Office had been made by the Franciscan John Peckham, Canon of Lyons, later Archbishop of Canterbury (d. 1292). The feast ranked as a double of the second class but was raised to the dignity of a primary of the first class, 24 July 1911, by Pius X (Acta Ap. Sedis, III, 351). Since it was after the first great Pentecost that the doctrine of the Trinity was proclaimed to the world, the feast becomingly follows that of Pentecost.

Red Service Book and Hymnal
Red Service Book and Hymnal

139 – Glory Be to God the Father

Please turn your hymnals to number 139 and join with the clarinets in, “Glory be to God the Father”.

Number: 139
First Line: Glory Be to God the Father
Name: ST. NICHOLAS.
Meter: 8 7, 8 7.
Tempo: In moderate time
Music: Johann Cruger, 1598-1662
Text: Horatius Bonar, 1808-89

Clarinet Arrangement: 139-GloryBeToGodtheFather

In my opinion, there is nothing that sounds better on a bunch of clarinets than a good minor dirge.

Beautiful, just beautiful.

Both Bonar and Cruger had more than their share of beauty, tragedy, and hardship to capture in song.

Horatius Bonar [pronunciation?] (19 December 1808 – 31 July 1889), a contemporary and acquaintance of Robert Murray M’cheyne was a Scottish churchman and poet. He is principally remembered as a prodigious hymn-writer.

The son of James Bonar, Solicitor of Excise for Scotland, he was born and educated in Edinburgh. He came from a long line of ministers who have served a total of 364 years in the Church of Scotland. One of eleven children, his brothers John James and Andrew Alexander were also ministers of the Free Church of Scotland. He had married Jane Catherine Lundie in 1843 and five of their young children died in succession. Towards the end of their lives, one of their surviving daughters was left a widow with five small children and she returned to live with her parents.

In 1853 Bonar earned the Doctor of Divinity degree at the University of Aberdeen.

Bonar’s wife, Jane Catherine Bonar, died in 1876. He died 31 July 1889. They are buried together in the Canongate Kirkyard in the lair of Alexander Bonar, near the bottom of the eastern extension.

Johann Crüger (9 April 1598 – 23 February 1662) was a German composer of well-known hymns. He was also the editor of the most widely used Lutheran hymnal of the 17th century, Praxis pietatis melica.

In 1628, he married the widow of a city councilman. During the Thirty Years’ War, Crüger and his family endured many hardships including hunger.[2] He fell ill with plague, and almost died of that disease, losing five children and his wife in 1636. In 1637, having recovered from the disease, he got married a second time, to the 17-year-old daughter of an innkeeper, with whom he had fourteen children, most of whom died at a young age.[2] One of his daughters married the court painter Michael Conrad Hirt, who made a portrait of Crüger in 1663.[1] Crüger died in Berlin.

Red Service Book and Hymnal
Red Service Book and Hymnal

138 – Most Ancient of All Mysteries

Please turn your hymnals to number 138 and join with the clarinets in, “Most Ancient of All Mysteries”.

Number: 138
First Line: Most Ancient of All Mysteries
Name: ST. FLAVIAN.
Meter: C.M.
Tempo: In moderate time
Music: John Day’s Psalter, 1562
Text: Frederick William Faber, 1814-63

Clarinet Arrangement: 138-MostAncientOfAllMysteries

On the other hand, this is not a particularly interesting hymn. It’s not bad or anything, just not particularly harmonically interesting.

The lyrics, from Francis William Faber, however, are nicely poetic.

1 Most ancient of all mysteries,
Before Thy throne we lie;
Have mercy now, most merciful,
Most holy Trinity.

2 When heav’n and earth were yet unmade,
When time was yet unknown,
Thou in Thy bliss and majesty
Didst live and love alone.

3 Thou wert not born; there was no fount
From which Thy Being flowed;
There is no end which Thou canst reach;
But Thou art simply God.

4 How wonderful creation is,
The work which Thou didst bless,
And O what then must Thou be like,
Eternal loveliness!

5 O listen then, most pitiful,
To Thy poor creature’s heart:
It blesses Thee that Thou art God,
That Thou art what Thou art.

6 Most ancient of all mysteries,
Still at thy throne we lie;
Have mercy now, most merciful,
Most holy Trinity.

Francis William Faber

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-Catholicpreaching 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]

Red Service Book and Hymnal
Red Service Book and Hymnal

137 – Ancient of Days

Please turn your hymnals to number 137 and join with the clarinets in, “Ancient of Days”.

Number: 137
First Line: Ancient of Days
Name: ANCIENT OF DAYS. (ALBANY)
Meter: 11 10, 11 10.
Tempo: In unison, with dignity
Music: John Albert Jeffrey, 1855-1929
Text: William Croswell Doane, 1832-1913

Clarinet Arrangement: 137-AncientOfDays

Fairly rhythmically and harmonically interesting, this one gave me something to chew on and develop over its short course. Not often you see dotted eighth notes and 16th notes in hymns!

Jeffery (sometimes misspelled as Jeffrey) began playing the organ at St. Anne’s Cathedral in Plymouth at age 14, taking over his father’s position. He emigrated to America in 1876 and settled in Albany, New York. He developed a chorus and directed the music at St. Agnes School, and played the organ at the Protestant Episcopal Cathedral. He left for Yonkers, New York, in 1893, and served at the First Presbyterian Church. Later, he taught music at the New England Conservatory.

Red Service Book and Hymnal
Red Service Book and Hymnal

136 – Come Thou Almighty King

Please turn your hymnals to number 136 and join the clarinets in, “Come Thou Almighty King”.

Number: 136
First Line: Come Thou Almighty King
Name: MOSCOW.
Meter: 6 6 4, 6 6 6 4.
Tempo: Joyfully
Music: Felice de Giardini, 1716-96
Text: Authorship Uncertain
Whitefield’s Collection, 1757 a.

This is an interesting hymn. A tad more musically interesting than most. It moves from contrasting harmony parts, to a unison refrain, and back to harmony.

Quite pleasant!

Felice Giardini (April 12, 1716 – June 8, 1796) was an Italiancomposer and violinist.

Felice Giardini was born in Turin.[1] When it became clear that he was a child prodigy, his father sent him to Milan. There he studied singing, harpsichord and violin but it was on the latter that he became a famous virtuoso. By the age of 12, he was already playing in theater orchestras. In a famous incident about this time, Giardini, who was serving as assistant concertmaster (i.e. leader of the orchestra) during an opera, played a solo passage for violin which the composer Niccolò Jommelli had written. He decided to show off his skills and improvised several bravura variations which Jommelli had not written. Although the audience applauded loudly, Jommelli, who happened to be there, was not pleased and suddenly stood up and slapped the young man in the face. Giardini, years later, remarked, “it was the most instructive lesson I ever received from a great artist.”

Clarinet Arrangement: 136-ComeThouAlmightKing

Red Service Book and Hymnal
Red Service Book and Hymnal