Please turn to number 76 and join with the clarinets in “Glory be to Jesus”.
Number: 76
First Line: Glory Be to Jesus
Name: CASWALL.
Meter: 6 5, 6 5.
Tempo: Slowly and reverently
Music: Friedrich Filitz, 1804-76
Text: Italian, XVIII cent.
Tr. Edward Caswall, 1814-78
Clarinet Arrangement:076.GloryBeToJesus
Huh, that’s one of the prettier hymns I’ve done in a while.
The name is from the translator of the text, Edward Caswell, who was an Anglican who converted to Catholicism. So, yeah, a little weird that it’s in a Lutheran Hymnal. But there you go.
Edward Caswall, CO, (15 July 1814 – 2 January 1878) was an Anglican clergyman and hymn writer who converted to Roman Catholicism.
He was born at Yateley, Hampshire on 15 July 1814, the son of Rev. R. C. Caswall, sometime Vicar of Yateley, Hampshire.[1]
Caswall was educated at Marlborough Grammar School and Brasenose College, Oxford, where he graduated Bachelor of Arts in 1836 with honours and later proceeded to Master of Arts. He was curate of Stratford-sub-Castle, near Salisbury, 1840–1847. In 1850, his wife having died the previous year, he joined the Oratory of St. Philip Neri under future Cardinal Newman, to whose influence his conversion to Roman Catholicism was due.
He wrote original poems that have survived mainly in Catholic hymnals due to a clear adherence to Catholic doctrine. Caswall is best known for his translations from the Roman Breviary and other Latin sources, which are marked by faithfulness to the original and purity of rhythm. They were published in Lyra Catholica, containing all the breviary and missal hymns (London, 1849); The Masque of Mary (1858); and A May Pageant and other poems (1865). Hymns and Poems (1873) are the three books combined, with many of the hymns rewritten or revised. Some of his translations are used in the Hymns Ancient and Modern.[2] His widely used hymn texts and translations include “Alleluia! Alleluia! Let the Holy Anthem Rise”; “Come, Holy Ghost”; “Jesus, the Very Thought of Thee”; “When Morning Gilds the Skies”; and “Ye Sons and Daughters of the Lord”.[3]
Of course, if you know anything about me, if something is extremely pretty, I can’t resist messing with it. So I doubled the tempo, swung the quarter notes, and played it on Soprano and Tenor Saxophones.
Sax Quartet Version: