Please turn to number 69 and join with the clarinets in “Jesus, Refuge of the Weary.”

Number: 69
First Line: Jesus, Refuge of the Weary
Meter: 8 7, 8 7. D.
Tempo: With movement
Music: Johann Thommen’s Christenschatz, 1745
Text: Girolamo Savonarola, 1452-98
Tr. Jane Francesca Wilde, 1826-96

Clarinet Arrangement: 0069.JesusRefugeOfTheWeary

The author of this hymn’s text was quite an interesting fellow!

Girolmo Savonarola from the wikipedia.

Girolamo Savonarola (Italian: [savonaˈrɔːla]; 21 September 1452 – 23 May 1498) was an Italian Dominican friar and preacher active in Renaissance Florence. He was known for his prophecies of civic glory, the destruction of secular art and culture, and his calls for Christian renewal. He denounced clerical corruption, despotic rule and the exploitation of the poor. He prophesied the coming of a biblical flood and a new Cyrus from the north who would reform the Church. In September 1494, when Charles VIII of France invaded Italy and threatened Florence, such prophesies seemed on the verge of fulfillment. While Savonarola intervened with the French king, the Florentines expelled the ruling Medici and, at the friar’s urging, established a “popular” republic. Declaring that Florence would be the New Jerusalem, the world center of Christianity and “richer, more powerful, more glorious than ever”,[1] he instituted a campaign of extreme austerity, enlisting the active help of Florentine youth.

In 1495 when Florence refused to join Pope Alexander VI’s Holy League against the French, the Vatican summoned Savonarola to Rome. He disobeyed and further defied the pope by preaching under a ban, highlighting his campaign for reform with processions, bonfires of the vanities, and pious theatricals. In retaliation, the Pope excommunicated him in May 1497, and threatened to place Florence under an interdict. A trial by fire proposed by a rival Florentine preacher in April 1498 to test Savonarola’s divine mandate turned into a fiasco, and popular opinion turned against him. Savonarola and two of his supporting friars were imprisoned. Under torture, Savonarola confessed that he had invented his visions and prophecies. On May 23, 1498, Church and civil authorities condemned, hanged, and burned the three friars in the main square of Florence.

Savonarola’s devotees, the Piagnoni, kept his cause of republican freedom and religious reform alive well into the following century, although the Medici—restored to power in 1512 with the help of the papacy—eventually broke the movement.

Red Service Book and Hymnal
Red Service Book and Hymnal


Please turn to number 68 (Second Tune) and join with the clarinets in “Christian, Dost Thou See Them”.

Number: 68 (Second Tune)
First Line: Christian, Dost Thou See them
Meter: 6 5, 6 5. D.
Tempo: Thoughtfully
Music: John Bacchus Dykes, 1823-76
Text: Andrew of Crete, cir. 660-732
Tr. John Mason Neale, 1818-66

Clarinet Arrangement: 068b.ChristianDostThouSeeThem

I love a good minor dirge, and the first part of this tune is really pretty great. Unfortunately, half way through, the hymn switches keys, and from minor to major, at the same time as the text starts expressing sentiments of smiting, girding, battle, sorrow, and triumph.

Someone was very literal minded in their music arrangement.

So, I, uh, took some liberties with the arrangement.

The first section gets played twice at regular (slow) time, and the second in (appropriately) military double time. I also finish by returning the final chord to minor, as a sort of protest.

Red Service Book and Hymnal
Red Service Book and Hymnal


Please turn to number 68 (First Tune) and join with the clarinets in “Christian, Dost Thou See Them”.

Number: 68 (First Tune)
First Line: Christian, Dost Thou See Them
Meter: 6 5, 6 5. D.
Tempo: With energy
Music: Praxis Pietatis Melica, Frankfurt, 1668
Text: Andrew of Crete, cir. 660-732
Tr. John Mason Neale, 1818-66

Clarinet Arrangement: 068.ChristianDostThouSeeThem

I had an urge to take this one slowly, with a melancholy feel. The text is kind of depressing and reminds me of the things I like least about Christianity. Lots of smiting, girding, battles, and intolerence for other faiths.

1 Christian, dost thou see them
on the holy ground,
how the pow’rs of darkness
rage thy steps around?
Christian, up and smite them,
counting gain but loss,
in the strength that cometh
by the holy cross.

2 Christian, dost thou feel them,
how they work within,
striving, tempting, luring,
goading into sin?
Christian, never tremble;
never be downcast;
gird thee for the battle,
watch and pray and fast.

3 Christian, dost thou hear them,
how they speak thee fair?
“Always fast and vigil?
Always watch and prayer?”
Christian, answer boldly,
“While I breathe I pray!”
Peace shall follow battle,
night shall end in day.

4 Hear the words of Jesus:
“O my servant true:
thou art very weary –
I was weary too;
but that toil shall make thee
some day all mine own,
and the end of sorrow
shall be near my throne.”

Praxis Pietatis Melica” was a German Hymnal:

Praxis pietatis melica (Practice of Piety in Song)[1] is a Protestanthymnal first published in the 17th century by Johann Crüger. The hymnal, which appeared under this title from 1647 to 1737 in 45 editions, has been described as “the most successful and widely-known Lutheran hymnal of the 17th century”.[2] Crüger composed melodies to texts that were published in the hymnal and are still sung today, including “Jesu, meine Freude“, “Herzliebster Jesu” and “Nun danket alle Gott“. Between 1647 and 1661, Crüger first printed 90 songs by his friend Paul Gerhardt, including “O Haupt voll Blut und Wunden“.

Andrew of Crete was an early Eastern Orthodox and Roman Catholic Saint.

Saint Andrew of Crete (Greek: Ἀνδρέας Κρήτης, c. 650 – July 4, 712 or 726 or 740), also known as Andrew of Jerusalem, was an 8th-century bishop, theologian, homilist,[1] and hymnographer. He is venerated as a saint by Eastern Orthodox and Roman Catholic Christians.

Today, Saint Andrew is primarily known as a hymnographer. He is credited with the invention (or at least the introduction into Orthodox liturgical services) of the canon, a new form of hymnody. Previously, the portion of the Matins serrains inserted between the scripture verses. Saint Andrew expanded these refrains into fully developed poetic Odes, each of which begins with the theme (Irmos) of the scriptural canticle, but then goes on to expound the theme of the feast being celebrated that day (whether the Lord, the Theotokos, a saint, the departed, etc.).

Red Service Book and Hymnal
Red Service Book and Hymnal


Please turn to Number 67 (Second Tune) and join with the clarinets in “Jesus, Name All Names Above”.

Number: 67 (Second Tune)
First Line: Jesus, Name All Names Above
Meter: 7 6, 7 6, 8 8, 7 7.
Music: Johann Schop, cir 1600-65
Harm. J. S. Bach 1685-1750
Text: Theoctistus of the Studium, cir. 890
Tr. John Mason Neale, 1818-66 a.

Clarinet Arrangement: 067b-jesusnameallnamesabove

Different music, same text. However, in this case, the music is “Harmonized” by none other than Johann Sebastian Bach.

Baroque music is all about theme and variation, so I tried a little “Hymnprovisation” myself with the melody and chord changes on the second and third time through.

Red Service Book and Hymnal
Red Service Book and Hymnal


Please turn to Number 67 (First Tune) and join with the clarinets in “Jesus, Name All Names Above”.

Number: 67 (First Tune)
First Line: Jesus, Name All Names Above
Meter: 7 6, 7 6, 8 8, 7 7.
Tempo: Quietly
Music: Ralph Alvin Strom, 1901-
Text: Theoctistus of the Studium, cir. 890
Tr. John Mason Neale, 1818-66 a.

Here is the pdf of the clarinet arrangement:067a-jesusnameallnamesabove

This setting is pretty modern sounding in its harmonies. Each part doubled, twice through. Audacity “Medium Room” Reverb Effect applied.

Naturally, “Theoktistus” I cannot resist researching a great name.

“Theoktistus was a monk at the great monastery of the Studium in Constantinople, circa 890. John Neale called him a friend of St. Joseph. Theoktistus’ only known work is Suppliant Canon to Jesus, found at the end of the Paracletice or Great Octoechus, a volume in eight parts, containing the Ferial Office for eight weeks.”

This is the full text of the Canto John Mason Neale translated:

Ἰησοῦ γλυκύτατε.

Jesu, Name all names above,
Jesu, best and dearest,
Jesu, Fount of perfect love,
Holiest, tenderest, nearest;
Jesu, source of grace completest,
Jesu purest, Jesu sweetest,
Jesu, Well of power Divine,
Make me, keep me, seal me Thine!

Jesu, open me the gate
That of old he enter’d,
Who, in that most lost estate,
Wholly on Thee ventur’d;
Thou, Whose Wounds are ever pleading,
And Thy Passion interceding,
From my misery let me rise
To a Home in Paradise!

Thou didst call the Prodigal:
Thou didst pardon Mary:
Thou Whose words can never fall,
Love can never vary:
Lord, to heal my lost condition,
Give—for Thou canst give—contrition;
Thou canst pardon all mine ill
If Thou wilt: O say, “I will!”

Woe, that I have turned aside
After fleshly pleasure!
Woe, that I have never tried
For the Heavenly Treasure!
Treasure, safe in Home supernal;
Incorruptible, eternal!
Treasure no less price hath won
Than the Passion of The Son!

Jesu, crown’d with Thorns for me,
Scourged for my transgression,
Witnessing, through agony,
That Thy good confession!
Jesu, clad in purple raiment,
For my evils making payment;
Let not all Thy woe and pain,
Let not Calvary, be in vain!

When I reach Death’s bitter sea
And its waves roll higher,
Help the more forsaking me
As the storm draws nigher:
Jesu, leave me not to languish,
Helpless, hopeless, full of anguish!
Tell me,—”Verily I say,
Thou shalt be with Me to-day!”

Red Service Book and Hymnal
Red Service Book and Hymnal


Please turn to number 66 and join with the clarinets in “Wide Open Are They Hands”.

Number: 66
First Line: Wide Open Are Thy Hands
Meter: S.M.D.
Tempo: In moderate time
Music: George William Martin, 1828-1881
Arranged by Arthur S. Sullivan, 1842-1900
Text: Ascribed to St. Bernard of Clairvaux, 1091-1153
Tr. Charles Porterfield Krauth, 1823-83

Clarinet Arrangement: 066-wideopenarethyhands

Another one where when I was transcribing it, it seemed like it was going to be not all that exciting to play, but in execution I think it turned out pretty cool.

St. Bernard of Clarivaux was a very important guy in the Middle Ages.

Bernard of Clairvaux (Latin: Bernardus Claraevallensis), O.Cist (1090 – 20 August 1153) was a Frenchabbot and the primary reformer of the Cistercian order.

After the death of his mother, Bernard sought admission into the Cistercian order. “Three years later, he was sent to found a new abbey at an isolated clearing in a glen known as the Val d’Absinthe, about 15 kilometres (9.3 mi) southeast of Bar-sur-Aube. According to tradition, Bernard founded the monastery on 25 June 1115, naming it Claire Vallée, which evolved into Clairvaux. There Bernard would preach an immediate faith, in which the intercessor was the Virgin Mary.”[1] In the year 1128, Bernard attended the Council of Troyes, at which he traced the outlines of the Rule of the Knights Templar,[a] which soon became the ideal of Christian nobility.

After the Christian defeat at the Siege of Edessa, the pope commissioned Bernard to preach the Second Crusade. The last years of Bernard’s life were saddened by the failure of the crusaders, the entire responsibility for which was thrown upon him. Bernard died at the age of 63, after 40 years as a monk. He was the first Cistercian placed on the calendar of saints, and was canonized by Pope Alexander III on 18 January 1174. In 1830 Pope Pius VIII bestowed upon Bernard the title “Doctor of the Church“.

The text is pretty moving, as well.

1 Wide open are Thy hands,
Paying with more than gold
The awful debt of guilty men,
Forever and of old.

2 Ah, let me grasp those hands,
That we may never part,
And let the power of their blood
Sustain my fainting heart.

3 Wide open are Thine arms,
A fallen world t’embrace;
To take to love and endless rest
Our whole forsaken race.

4 Lord, I am sad and poor,
But boundless is Thy grace;
Give me the soul transforming joy
For which I seek Thy face.

5 Draw all my mind and heart
Up to Thy throne on high,
And let Thy sacred Cross exalt
My spirit to the sky.

6 To these, Thy mighty hand,
My spirit I resign;
Living, I live alone to Thee,
And, dying, I am Thine.

Red Service Book and Hymnal
Red Service Book and Hymnal


Please turn to number 65 and join with the clarinets in “My Song is Love Unknown”.

Number: 65
First Line: My Song is Love Unknown
Meter: 6 6, 6 6, 4 4, 4 4.
Tempo: Slowly and devotionally
Music: John David Edwards, cir. 1805-85
Text: Samuel Crossman, 1624-83

Clarinet Arrangement: 065-mysongisloveunknown

The first line of this hymn is so evocative, that the rest is, well, rather disappointing. Though, I do like the second to last stanza. Sounds like a verse from a blues tune.

My song is love unknown,
My Saviour’s love to me;
Love to the loveless shown,
That they might lovely be.
O who am I,
That for my sake
My Lord should take
Frail flesh and die?

He came from His blest throne
Salvation to bestow;
But men made strange, and none
The longed-for Christ would know:
But O! my Friend,
My Friend indeed,
Who at my need
His life did spend.

Sometimes they strew His way,
And His sweet praises sing;
Resounding all the day
Hosannas to their King:
Then “Crucify!”
is all their breath,
And for His death
they thirst and cry.

Why, what hath my Lord done?
What makes this rage and spite?
He made the lame to run,
He gave the blind their sight,
Sweet injuries!
Yet they at these
Themselves displease,
and ’gainst Him rise.

They rise and needs will have
My dear Lord made away;
A murderer they save,
The Prince of life they slay,
Yet cheerful He
to suffering goes,
That He His foes
from thence might free.

In life no house, no home,
My Lord on earth might have;
In death no friendly tomb,
But what a stranger gave.
What may I say?
Heav’n was his home;
But mine the tomb
Wherein he lay.

Here might I stay and sing,
No story so divine;
Never was love, dear King!
Never was grief like Thine.
This is my Friend,
in Whose sweet praise
I all my days
could gladly spend.

This setting is rather repetitious, I tried to mix it up a bit by playing with the dynamics a bit.

Amusing that the hymn is repetitious, as, according to the wikipedia article, “British rock band Coldplay has a song entitled “A Message”, released on the album X&Y, the lyrics and melody of which were inspired by this hymn.” I can’t think of many rock bands more repetitious than Coldplay.

Red Service Book and Hymnal
Red Service Book and Hymnal


Please turn to number 64 and join with the clarinets in “In The Cross of Christ”.

Number: 64 (First Tune)
First Line: In the Cross of Christ
METER: 8 7, 8 7.
Tempo: Broadly
Music: Ithamar Conkey, 1815-1867
Text: John Bowring, 1792-1872

Number: 64 (Second Tune)
First Line: In the Cross of Christ
Meter: 8 7, 8 7.
Tempo: In moderate time
Music: John Stainer, 1840-1901
Text: John Bowring, 1792-1872

Another really short hymn, though this time the different versions are in different keys and different meters.

This time I opted to play the First Tune, then the Second Tune, and finally return to the First Tune.

First Tune Clarinet Arrangement:064a-inthecrossofchrist

Second Tune Clarinet Arrangement:064b-inthecrossofchrist

Frankly, the lyrics to this one are kind of surreal and science fiction-esque.

“Towering o’er the wrecks of time,” could be from Dr Who or Alfred Bester.

In the Cross of Christ I glory,
Towering o’er the wrecks of time;
All the light of sacred story
Gathers round its head sublime.

When the woes of life o’er-take me,
Hopes deceive and fears annoy,
Never shall the Cross forsake me;
Lo! It glows with peace and joy.

When the sun of bliss is beaming
Light and love upon my way,
From the Cross the radiance streaming
Adds more lustre to the day.

Band and blessing, pain and pleasure,
By the cross are sanctified;
Peace is there that knows no measure,
Joys that through all time abide.

Red Service Book and Hymnal
Red Service Book and Hymnal


Please turn to number 63, aka “Sweet the Moments”, and join with the clarinets.

Number: 63 (First Tune)
First Line: Sweet the Moments
Meter: 8 7, 8 7.
Tempo: Slowly
Music: German Folksong, XVI cent.
Text: James Allen, 1734-1804
Walter Shirley, 1725-86
St. 4, Cook and Denton’s Church Hymnal, 1853

Number: 63 (Second Tune)
First Line: Sweet the Moments
Meter: 8 7, 8 7.
Tempo: Quietly
Music: Thommen’s Christen-Schatz, 1745
Text: James Allen, 1734-1804
Walter Shirley, 1725-86
St. 4, Cook and Denton’s Church Hymnal, 1853

This is a really short hymn and both versions are in the same key and time signature, so instead of doing both apart, I combined them. I started with a reversed “Amen” from the First Tune, played the first tune, played the second tune, and finished with the “Amen” from the second tune. Turned out pretty well.

First tune:063a-sweetthemoments
Second Tune:063b-sweetthemoments

Doubled each part. Audacity “Large Room” Reverb Effect.

Red Service Book and Hymnal
Red Service Book and Hymnal


Please turn to Number 62 and join with the clarinets in, “O Christ, Our King”.

Number: 62 (Second Tune)
First Line: O Christ, Our King
Meter: L.M.
Music: Ignaz Joseph Pleyel, 1757-1831
Text: St. Gregory, 540-604
Tr. Ray Palmer, 1808-87

I did continue my experiments with velocity in the above version, not to mentions a bit of a crazy saxhouse coda. Despite how it sounds, I did not speed it up with editing effects, but there are about 8 soprano sax parts screaming together at the very top of their range, along with 4 clarinet parts. In any case, you may have better luck singing along with this version:

Clarinet arrangement: 062b-ochristourking

I found a whole article just about this hymn, “O Christ, Our King, Creator, Lord

In his Table Talk Luther called the Latin hymn on which ours is based “the best hymn of all.” For theological and poetic richness Ray Palmer’s translation may be unequaled among Good Friday hymns. But the very multiformity of its riches makes it hard to set to music. Since every stanza of a hymn is sung to a single repeated melody, good hymn-poets, anticipating the limitations of this strophic approach, try to structure their stanzas similarly so that one size will fit all. We then can select a tune to make the most of any parallels, such as when climactic words occur in the same place from stanza to stanza. If Palmer consciously sought such parallels, he settled for parallels of the paradoxical sort. How can anybody compose a musical gesture to fit both “yield up thy breath” and “by thy mighty power defend” (line 3 in the last two stanzas)? Or “the world grew dark as shades of death” and “reign through ages without end” (line 4 in the last two stanzas)? The best tune, in addition to realizing the usual ideals of singability and distinctiveness, must employ gestures capable of bearing opposite meanings.

Which commentary, I suppose, requires me to include the text, originally by St. Gregory, aka “Gregory the Great”.

O Christ, our King, Creator, Lord,
Savior of all who trust thy word,
to them who seek thee ever near,
now to our praises bend thine ear.

In thy dear cross a grace is found
(it flows from every streaming wound)
whose pow’r our inbred sin controls,
breaks the firm bond, and frees our souls.

Thou didst create the stars of night;
yet thou hast veiled in flesh thy light,
hast deigned a mortal form to wear,
a mortal’s painful lot to bear.

When thou didst hang upon the tree,
the quaking earth acknowledged thee;
when thou didst there yield up thy breath,
the world grew dark as shades of death.

Now in the Father’s glory high,
great Conqu’ror, nevermore to die,
us by thy mighty pow’r defend,
and reign through ages without end.

Oh, uh, yeah, Gregory the Great, as in “Gregorian Chant”!

Pope Saint Gregory I (Latin: Gregorius I; c. 540 – 12 March 604), commonly known as Saint Gregory the Great,[1] was pope of the Catholic Church from 3 September 590 to his death in 604. Gregory is famous for instigating the first recorded large-scale mission from Rome to convert a pagan people to Christianity.[2] Gregory is also well known for his writings, which were more prolific than those of any of his predecessors as pope.[3] He is also known as the Great Visionary of Modern Educational System, for his writings and contribution to the school system of education instead of apprenticeships based learning. The epithet Saint Gregory the Dialogist has been attached to him in Eastern Christianity because of his Dialogues. For this reason, English translations of Eastern texts will sometimes list him as Gregory “Dialogos” or the Latinized equivalent “Dialogus”.

The mainstream form of Western plainchant, standardized in the late 9th century,[44] was attributed to Pope Gregory I and so took the name of Gregorian chant. The earliest such attribution is in John the Deacon’s 873 biography of Gregory, almost three centuries after the pope’s death, and the chant that bears his name “is the result of the fusion of Roman and Frankish elements which took place in the Franco-German empire under Pepin, Charlemagne and their successors”.[45]

Red Service Book and Hymnal
Red Service Book and Hymnal