"To God Be the Glory" was the opening theme song for the evening service from South Norfolk Baptist Church broadcast live on WXRI-FM
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1. To God be the glory, great things he hath done!
So loved he the world that he gave us his Son,
who yielded his life an atonement for sin,
and opened the lifegate that all may go in.
Refrain:
Praise the Lord, praise the Lord,
let the earth hear his voice!
Praise the Lord, praise the Lord,
let the people rejoice!
O come to the Father thru Jesus the Son,
and give him the glory, great things he hath done!
2. O perfect redemption, the purchase of blood,
to every believer the promise of God;
the vilest offender who truly believes,
that moment from Jesus a pardon receives.
(Refrain)
3. Great things he hath taught us, great things he hath done,
and great our rejoicing thru Jesus the Son;
but purer, and higher, and greater will be
our wonder, our transport, when Jesus we see.
(Refrain)
Words: Fanny J. Crosby
Music: William H. Doane
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"Span Master" shortwave radio by Knight Kit
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Here is what the BBC sounded like on his shortwave set:
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By way of shortwave, Jim also introduced our family to the annual Christmas broadcast from Kings College, Cambridge of the "Festival of Lessons and Carols" which can be heard on many FM radio stations in the U.S. (Picture from their website):
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"To God Be the Glory," sung on the 50th anniversary
of "Songs of Praise," the oldest Christian music program broadcast on
the BBC.
(Video courtesy of BBC):
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The fifth movement is often referred to as just
"Widor's Toccata" because it is his most famous piece. It lasts
around six minutes. Its fame in part comes from its use as recessional music at
wedding and graduation ceremonies. The melody of the composition is based upon an arrangement
of arpeggios which form phrases, initially in F, moving in fifths through to C
major, G major, etc. Each bar consists of one phrase. The melody is
complemented by syncopated chords, forming an accented rhythm. The phrases are
contextualised by a descending bass line beginning with the 7th tone of each
phrase key. For example, where the phrase consists of an arpeggio in C major,
the bass line begins with a B flat.
Widor's best-known single piece for the organ is the final
movement, Toccata, from his Symphony for Organ No. 5, is often played at the close of the Christmas
Midnight Mass at Saint Peter's Basilica (The Vatican City, Rome). Although the
Fourth Symphony also opens with a Toccata, it is in a dramatically different
(and earlier) style. The Toccata from Symphony No. 5 is the first of the
toccatas characteristic of French Romantic organ music, and served as a model
for later works by Boëllmann, Mulet, and Dupré. Widor was pleased with the
worldwide renown this single piece afforded him, but he was unhappy with how
fast many other organists played it. Widor himself always played the Toccata
rather deliberately. Many organists play it at a very fast tempo whereas Widor
preferred a more controlled articulation to be involved. He recorded the piece,
at St. Sulpice in his eighty-ninth year: the tempo used for the Toccata is
quite slow. Isidor Philipp transcribed the Toccata for two pianos.
This piece was played as the recessional, on the chapel pipe organ for my graduation from Southeastern Baptist Theological Seminary.
Here are samples of that piece played by different organists:
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Dr. Catharine Crozier, 80 years old, plays the Hazel Wright Pipe Organ: Widor's "Toccata":
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Organist:
Sebastian Kuechler-Blessing, plays, from memory, Widor’s “Toccata,” on the Hauptwerk-Installation
von Jörg Glebe, Bochum Sample der Cavaillé-Coll/Mutin-Orgel in Metz:
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Widor's "Toccata" played on the Cavaillé-Coll
Organ at Saint-Ouen, Rouen, France.
The church contains a large four-manual pipe organ built in 1890 by
Aristide Cavaillé-Coll. This instrument is considered to be one of the
most important organs in France, and is notable for its unusually
powerful 32' Contre Bombarde. (It is a very loud reed stop, generating 16 Hz tones at its lowest. It sounds like a four-motor WWII bomber flying over!) The organ stands unaltered and thus is one
of the few of the master's works to speak with its original voice:
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Angus Webster, 12
years of age, at the console of the King Charles Church Pipe Organ rebuilt by
Lance Foy of Truro.
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Reginald Heber, son of a minister, was also an
English clergyman, traveller, man of letters, and hymn-writer who, after
working as a country parson for 16 years, served as the Anglican Bishop of
Calcutta until his sudden death at the age of 42.
He wrote "Holy, Holy, Holy" and also the well-known missionary hymn, "From Greenland's Icy Mountains."
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The Hallelujah Chorus by Handel, sung by the South Norfolk Baptist Church choir, was an occasion not to be missed. I remember sitting on the second pew on the right side, watching Betty LeBlanc on the Piano and Gwen Whitehurst on the Organ, while Chauncey German directed the choir in this great piece of music.
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"I Love to Tell the Story" (Was used at the funeral services or at the graveside service, for Rev. and Mrs. J. Leighton Read and Rev. and Mrs. Frank Hughes, Jr.)
Text:
Katherine Hankey, 1834-1911
Music: William G. Fischer, 1835-1912
Tune: HANKEY, Meter: 76.76 D with Refrain
1. I love to
tell the story
of unseen
things above,
of Jesus
and his glory,
of Jesus
and his love.
I love to
tell the story,
because I
know 'tis true;
it
satisfies my longings
as nothing
else can do.
Refrain:
I love to
tell the story,
'twill be
my theme in glory,
to tell the
old, old story
of Jesus
and his love.
2. I love to
tell the story;
more
wonderful it seems
than all
the golden fancies
of all our
golden dreams.
I love to
tell the story,
it did so
much for me;
and that is
just the reason
I tell it
now to thee.
(Refrain)
3. I love to
tell the story;
'tis
pleasant to repeat
what seems,
each time I tell it,
more
wonderfully sweet.
I love to
tell the story,
for some
have never heard
the message
of salvation
from God's
own holy Word.
(Refrain)
4. I love to
tell the story,
for those
who know it best
seem
hungering and thirsting
to hear it
like the rest.
And when,
in scenes of glory,
I sing the
new, new song,
'twill be
the old, old story
that I have
loved so long.
(Refrain)
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Call to Worship: "Spirit of the Living God"
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Call to Worship: "Spirit of the Living God"
Words and Music: Daniel Iverson
Spirit of the living God, fall fresh
on me;
Spirit of the living God, fall fresh on me.
Melt me, mold me, fill me, use me.
Spirit of the living God, fall fresh on me.
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"The Doxology" was used for a Call to Worship; and also at times it was used when the Offering was brought down to the front of the church and laid on the altar, as praise to the Lord. It was also used as a Call to Worship:
Praise God, from whom all blessings flow;
Praise him, all creatures here below;
Praise him above, ye heavenly host;
Praise Father, Son, and Holy Ghost. Amen.
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“Lead me, Lord” (often sung as a Call to Worship by the SNBC Choir)
Text: Psalms 5:8, 4:8
Music: Samuel Sebastian Wesley
Sung by The Choir of Somerville College, Oxford
Robert Smith (organ)
David Crown (conductor)
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"I Stand Amazed" written by Charles H. Gabriel
I stand amazed in the presence
Of Jesus the Nazarene,
And wonder how He could love me,
A sinner, condemned, unclean.
Refrain
O
how marvelous! O how wonderful!
And my song shall ever be:
O how marvelous! O how wonderful!
Is my Savior’s love for me!
For me it was in the garden
He prayed: “Not My will, but Thine.”
He had no tears for His own griefs,
But sweat drops of blood for mine.
Refrain
In pity angels beheld Him,
And came from the world of light
To comfort Him in the sorrows
He bore for my soul that night.
Refrain
He took my sins and my sorrows,
He made them His very own;
He bore the burden to Calvary,
And suffered and died alone.
Refrain
When with the ransomed in glory
His face I at last shall see,
’Twill be my joy through the ages
To sing of His love for me.
Refrain
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"I Will Sing of My Redeemer"
Philip Paul Bliss (1838-1876), was a
well known teacher, evangelist and soloist. He wrote many hymns, including Almost
Persuaded, Let the Lower Lights Be Burning, and Wonderful Words of Life.
He also composed the melody for Horatio Spafford's It Is Well with My Soul.
Bliss and his wife Lucy traveled extensively, spreading the Gospel in song. In
December, 1876, they were taking a much needed break; spending Christmas
Holidays with Bliss' parents, in Pennsylvania. On the 28th, after receiving a
request by telegram from D.L. Moody, the couple left their two children with
grandparents and traveled by train to attend an evangelistic meeting in
Chicago.
While ministering at the meeting, Bliss spoke these words to the congregation: I
may not pass this way again, after which he sang, I'm Going Home
Tomorrow. His words and song would prove to be prophetic.
On the 29th of December, 1876, Bliss and his wife boarded a train back to
Pennsylvania. The winter snow and ice made for dangerous travel. As their train
was crossing over a river in Ashtabula, Ohio, the bridge suddenly gave way and
all the carriages fell into the freezing waters below. Bliss escaped through a
window, only to find that Lucy had somehow been left behind in the burning
wreckage. Although he was advised against it, Bliss headed back into the fire,
saying: "If I cannot save her, I will perish with her." The young
couple did not survive.
Of the 160 passengers, only 68 survived the disaster, which took the lives of
Lucy and Philip Bliss. The few remains retrieved from the accident site were
placed in a common grave marked by a monument, in the Ashtabula Cemetery.
Another monument was erected in Pennsylvania, in memory of Philip and Lucy
Bliss.
Among Bliss' belongings were the lyrics to I Will Sing of My Redeemer.
In 1877, the hymn was set to music by composer and evangelist James McGranahan (1840 -1907), whose works
included There Shall Be Showers of Blessing. That same year, singer and
musician George Cole Stebbins (1846-1945), who composed many hymns, including Saved
by Grace and Take Time To be Holy, made a recording of I Will
Sing of My Redeemer - one of the first songs ever to be recorded on Thomas
Edison's new invention, the phonograph.
I will sing of my Redeemer,
And His wondrous love to me;
On the cruel cross He suffered,
From the curse to set me free.
Refrain:
Sing, oh sing, of my Redeemer,
With His blood, He purchased me.
On the cross, He sealed my pardon,
Paid the debt, and made me free.
I will tell the wondrous story,
How my lost estate to save,
In His boundless love and mercy,
He the ransom freely gave.
Refrain
I will praise my dear Redeemer,
His triumphant power I'll tell,
How the victory He giveth
Over sin, and death, and hell.
Refrain
I will sing of my Redeemer,
And His heav'nly love to me;
He from death to life hath brought me,
Son of God with Him to be.
Refrain
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In 1887, just following an evangelistic
meeting held by Dwight L. Moody, a young man stood to share his story in an
after-service testimony meeting. As he was speaking, it became clear to many
that he knew little about the Bible or acceptable Christian doctrine. His
closing lines, however, spoke volumes to seasoned and new believers alike: I'm
not quite sure. But I'm going to trust, and I'm going to obey.
Daniel Towner was so struck by the power of those simple words that he quickly
jotted them down, then delivered them to John Sammis, who developed the lyrics
to Trust and Obey. Towner composed the music and the song quickly became
a favorite. It remains popular with hymn singers today..
When we walk with the Lord in the light of His Word,
What a glory He sheds on our way!
While we do His good will, He abides with us still,
And with all who will trust and obey.
Refrain:
Trust and obey, for there's no other way
To be happy in Jesus, but to trust and obey
Not a shadow can rise, not a cloud in the skies,
But His smile quickly drives it away;
Not a doubt or a fear, not a sigh or a tear,
Can abide while we trust and obey.
Refrain
Not a burden we bear, not a sorrow we share,
But our toil He doth richly repay;
Not a grief or a loss, not a frown or a cross,
But is blessed if we trust and obey.
Refrain
But we never can prove the delights of His love
Until all on the altar we lay;
For the favor He shows, for the joy He bestows,
Are for them who will trust and obey.
Refrain
Then in fellowship sweet we will sit at His feet.
Or we'll walk by His side in the way.
What He says we will do, where He sends we will go;
Never fear, only trust and obey.
Refrain
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"There Shall be Showers of Blessing"
Words by D.W. Whittle (pictured)
Music by James McGranahan
Ezekiel 34:26
"And I will make them
and the places round about my hill a blessing;
and I will cause the shower
to come down in his season;
there shall be showers of
blessing."
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There shall be showers of blessing:
This is the promise of love;
There shall be seasons refreshing,
Sent from the Savior above.
Refrain:
Showers of blessing,
Showers of blessing we need:
Mercy-drops round us are falling,
But for the showers we plead.
There shall be showers of blessing,
Precious reviving again;
Over the hills and the valleys,
Sound of abundance of rain.
There shall be showers of blessing;
Send them upon us, O Lord;
Grant to us now a refreshing,
Come, and now honor Thy Word.
There shall be showers of blessing:
Oh, that today they might fall,
Now as to God we’re confessing,
Now as on Jesus we call!
There shall be showers of blessing,
If we but trust and obey;
There shall be seasons refreshing,
If we let God have His way.
"Footsteps of Jesus"
written by M.B.C. Slade
Sweetly, Lord, have we heard Thee calling,
Come, follow Me!
And we see where Thy footprints falling
Lead us to Thee.
Refrain
Footprints of Jesus,
That make the pathway glow;
We will follow the steps of Jesus
Where'er they go.
Though they lead o'er the cold, dark mountains,
Seeking His sheep;
Or along by Siloam's fountains,
Helping the weak.
Refrain
If they lead through the temple holy,
Preaching the Word;
Or in homes of the poor and lowly,
Serving the Lord.
Refrain
Then, at last, when on high He sees us,
Our journey done,
We will rest where the steps of Jesus
End at His throne.
Refrain
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This hymn was the instrument used by
the Holy Spirit in the conversion of Policeman Fowler during the Billy Sunday Philadelphia meeting. What the apostolic
preaching of the great evangelist failed to do, this song of personal testimony did—brought about Fowler’s
conversion. More than a hundred policemen were led to Christ by the change
wrought in the life of one man by this song.
(Source: Sanville,
George W. Forty Gospel Hymn
Stories. Winona Lake, Indiana: The Rodeheaver-Hall Mack Company, 1943.)
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“Since Jesus Came Into My Heart”
Words: Rufus H. McDaniel (who wrote these words after the
death of his son.)
Music: Charles H. Gabriel
1. What
a wonderful change
in
my life has been wrought
since
Jesus came into my heart!
I
have light in my soul
for
which long I had sought,
since
Jesus came into my heart!
Refrain:
Since
Jesus came into my heart,
since
Jesus came into my heart,
floods
of joy o'er my soul
like
the sea billows roll,
since
Jesus came into my heart.
2. I
have ceased from my wan-
d'ring
and going astray,
since
Jesus came into my heart!
And
my sins, which were many,
are
all washed away,
since
Jesus came into my heart!
(Refrain)
3. I'm
possessed of a hope
that
is steadfast and sure,
since
Jesus came into my heart!
And
no dark clouds of doubt
now
my pathway obscure,
since
Jesus came into my heart!
(Refrain)
4. There's
a light in the valley
of
death now for me,
since
Jesus came into my heart!
And
the gates of the City
beyond
I can see,
since
Jesus came into my heart!
(Refrain)
5. I
shall go there to dwell
in
that City, I know,
since
Jesus came into my heart!
And
I'm happy, so happy,
as
onward I go,
since
Jesus came into my heart!
(Refrain)
“Wonderful
Words of Life”
Words
and Music: Philip P. Bliss
- Sing
them over again to me,
Wonderful words of life,
Let me more of their beauty see,
Wonderful words of life;
Words of life and beauty
Teach me faith and duty. - Refrain:
Beautiful words, wonderful words,
Wonderful words of life;
Beautiful words, wonderful words,
Wonderful words of life.
- Christ,
the blessed One, gives to all
Wonderful words of life;
Sinner, list to the loving call,
Wonderful words of life;
All so freely given,
Wooing us to heaven. - Sweetly
echo the Gospel call,
Wonderful words of life;
Offer pardon and peace to all,
Wonderful words of life;
Jesus, only Savior,
Sanctify us forever.
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"Come, Thou Fount of Every Blessing"
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Robert Robinson, the author
of "Come, Thou fount of every blessing," and "Mighty God, while
angels bless Thee," was born at Swaffham, in Norfolk, on Sept. 27,
1735. He went to hear the famous
preacher, George Whitefield. The text was St. Matthew iii. 7, and the great
evangelist's searching sermon on "the wrath to come" haunted him
blessedly. He wrote to the preacher six years later penitently and
pathetically. For well nigh three years he walked in darkness and fear, but in
his 20th year found "peace by believing." In 1759, having been invited by a Baptist
Church at Cambridge (afterwards made historically famous by Robert Hall, John
Foster, and others) he accepted the call, and preached his first sermon there
on Jan. 8, 1759, having been previously baptized by immersion. The
"call" was simply "to supply the pulpit," but he soon won
such regard and popularity that the congregation again and again requested him
to accept the full pastoral charge.
The lyrics, which dwell on
the theme of divine grace, are based on 1 Samuel 7:12, in which the prophet
Samuel raises a stone as a monument, saying, "Hitherto hath the Lord
helped us" (KJV). The English transliteration of the name Samuel gives to
the stone is Ebenezer, meaning Stone of Help. The unusual word Ebenezer
commonly appears in hymnal presentations of the lyrics.
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“Come, Thou Fount”
Words: Robert Robinson, Music: John
Wyeth
1. Come,
thou Fount of every blessing,
tune
my heart to sing thy grace;
streams
of mercy, never ceasing,
call
for songs of loudest praise.
Teach
me some melodious sonnet,
sung
by flaming tongues above.
Praise
the mount! I'm fixed upon it,
mount
of thy redeeming love.
2. Here
I raise mine Ebenezer;
hither
by thy help I'm come;
and
I hope, by thy good pleasure,
safely
to arrive at home.
Jesus
sought me when a stranger,
wandering
from the fold of God;
he,
to rescue me from danger,
interposed
his precious blood.
3. O
to grace how great a debtor
daily
I'm constrained to be!
Let
thy goodness, like a fetter,
bind
my wandering heart to thee.
Prone
to wander, Lord, I feel it,
prone
to leave the God I love;
here's
my heart, O take and seal it,
seal
it for thy courts above.
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"All Hail the Power of Jesus' Name"
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The hymn is often called the "National Anthem of Christendom.” The lyrics, written by Edward Perronet while
he served as a missionary in India, first appeared in the November 1779 issue
of the Gospel Magazine, which was edited by the author of “Rock of Ages,”
Augustus Toplady.
The best-known tunes used for the hymn are "Coronation" (Oliver
Holden, 1793) and “Miles Lane” (William Shrubsole, 1779), with “Diadem” (James
Ellor, 1838).
All hail the power of Jesus' name!
Let angels prostrate fall;
bring forth the royal diadem,
and crown Him Lord of all.
Bring forth the royal diadem,
and crown Him Lord of all.
Ye chosen seed of Israel's race,
ye ransomed from the Fall,
hail Him who saves you by His grace,
and crown Him Lord of all.
Hail Him who saves you by His grace,
and crown Him Lord of all.
Let every kindred, every tribe
on this terrestrial ball,
to Him all majesty ascribe,
and crown Him Lord of all.
To Him all majesty ascribe,
and crown Him Lord of all.
O that with yonder sacred throng
we at His feet may fall!
We'll join the everlasting song,
and crown Him Lord of all.
We'll join the everlasting song,
and crown Him Lord of all.
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"All Hail the Power of Jesus' Name" (arr. by Joan Pinkston):
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Postlude on "Coronation" -
All Hail The Power of Jesus' Name - Arranged and performed by Jason D. Payne on
the 191 rank Cliburn Casavant Pipe Organ of Broadway Baptist Church in Fort
Worth, TX.
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Hymn "All Hail The Power of Jesus' Name" (Miles Lane) -
Duke University Chapel
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Diane
Bish & The Joy of Music in special presentation, the dedication of the
Margaret Morrison 149 rank Keates-Geissler pipe organ of the First Baptist
Church of Dallas Texas. Camera will briefly show the late Dr. and Mrs. Criswell, who was pastor of the church at that time.
A two night concert series was held in which over 7,000 attended. To open the
program Diane performs the congregational hymn "The Church's One
Foundation."
Words: Samuel J. Stone
Music: Samuel S. Wesley
(from the public domain)
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"The Church´s One Foundation" - Martin Luther College -
New Ulm, Wisconsin
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"The
Church's One Foundation" (Hymn Tune: AURELIA) arr. John Ferguson Sung by the Plymouth Choir and Congregation of First Plymouth
Church, Lincoln Nebraska, on May 18, 2014.
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"Jerusalem" a Hymn by C. Hubert H. Parry "And did those feet in ancient
time" is a short poem by William Blake from the preface to his epic
Milton: a Poem (1804). Today it is best known as the hymn
"Jerusalem", with music written by C. Hubert H. Parry in 1916. This
poem was written about the Industrial Revolution that took place during the
early 19th century.
The first verse asks did Christ visit
Britain. This may be metaphorical or literal. There is an old English legend
that Christ came to Britain as a boy.
The poet questions Christianity in
Britain (2nd verse) and illustrates the point by using the adjective 'satanic'
when describing the industrial mills. (In the North of Britain at this time
many people; men, women and children, worked in the cotton industry.) This
clearly gives the impression that the poet thinks the mills are evil places.
In the final two verses he poet summons
up his faith and reveals he will not rest until there is justice in society.
This is a beautifully written poem and
is sometimes used as a national anthem. Here are some renditions of that Hymn:
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"Thou Wilt Keep Him in Perfect
Peace"
“Thou wilt
keep him in perfect peace, whose mind is stayed on thee: because he trusteth in
thee.”
-Isaiah
26:3
“Thou wilt keep him in perfect peace,
Whose mind is stayed on Thee.”
When the shadows come and darkness falls,
He giveth inward peace.
Refrain
O He is the only perfect Resting Place!
He giveth perfect peace.
“Thou wilt keep him in perfect peace,
Whose mind is stayed on Thee.”
In the shadow of the mighty Rock
I lay me down to sleep;
He who watches over Israel
So faithfully will keep.
‘Tis the promise of the Holy One:
“My peace I give to thee.”
Tho’ the storms of life in fury rage,
Thy Refuge sure is He.
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"Praise
to the Lord, The Almighty" performed live at First Baptist Church,
Clinton, MS on June 22, 2004. The Mississippi Baptist All-State Youth Choir was
first organized in 1993 by the Church Music Department of the Mississippi
Baptist Convention Board under the leadership of Susan Clark Luttrell, youth
minister consultant, and L. Graham Smith, department director. This special
choir and orchestra is made up of 9th-12th graders who are chosen through a
personal audition and interview process. Each member must be an active
participant in the music ministry of their local church and recommended by
their pastor, school teachers, and minister of music. James Meaders, Mississippi
College, Clinton, MS is choral director. David Young, Instrumental Contract
Consultant, Church Music Department, MBCB, is orchestra director.
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Recorded from the Radio: Old Fashioned Revival Hour:
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“Dear Lord and Father of Mankind”
Words: John
G. Whittier
Music: Frederick C.
Maker
Arr. Charles H.H.
Parry
(The text set appears below. Some hymnal editors omit the fourth stanza or
resequence the stanza so that the fifth stanza as printed here comes last. If
sung to Parry's tune, "Repton," the last line of each stanza is
repeated.)
Dear Lord and Father
of mankind,
Forgive our foolish
ways!
Reclothe us in our
rightful mind,
In purer lives Thy
service find,
In deeper reverence,
praise.
In simple trust like
theirs who heard
Beside the Syrian sea
The gracious calling
of the Lord,
Let us, like them,
without a word
Rise up and follow
Thee.
O Sabbath rest by
Galilee!
O calm of hills
above,
Where Jesus knelt to
share with Thee
The silence of
eternity
Interpreted by love!
With that deep hush
subduing all
Our words and works
that drown
The tender whisper of
Thy call,
As noiseless let Thy
blessing fall
As fell Thy manna
down.
Drop Thy still dews
of quietness,
Till all our
strivings cease;
Take from our souls
the strain and stress,
And let our ordered
lives confess
The beauty of Thy
peace.
Breathe through the
heats of our desire
Thy coolness and Thy
balm;
Let sense be dumb,
let flesh retire;
Speak through the
earthquake, wind, and fire,
O still, small voice
of calm.
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"Great is Thy Faithfulness"
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"Great
Is Thy Faithfulness" was performed by members of the Alfred Street Baptist
Church Bicentennial Choir at the church's 200th anniversary celebration. The
program, "200 Years, Yet Not Forsaken, Psalm 37:25", was held at the
Cecil D. Hylton Memorial Chapel in Woodbridge, VA, on November 2, 2003:
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"It is Well with My Soul"
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Horatio G. Spafford wrote the words to the hymn, "It is Well with My Soul". Here is the story of how and why the hymn was written:
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"Tell Out My Soul"
was written by Rev. Timothy Dudley-Smith, born in Manchester, England, and writer of 400 hymns. His father influenced his love of poetry and he wrote "Tell Out My Soul" while reading the New Testament in the New English Bible translation. The text of the hymn is a paraphrase of Luke 1:46-55, and calls us to proclaim the greatness "of the Lord" (stanza 1), "of his name" (stanza 2), "of his might" (stanza 3), and "of his word" (stanza 4). The text captures the spirit of Mary's exuberant song of praise to God.
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"Fairest Lord Jesus" sung by local school children with the congregation of Truro Cathedral joining in. (from public domain)
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“The
Day Thou Gavest, Lord, Is Ended”
Text: John Ellerton, 1826-1893
Music: Clement Cottevill Scholefield
Tune: ST. CLEMENT, Meter: 98.98
Eton College, Boys Choir
1. The day thou gavest, Lord, is ended,
The darkness falls at Thy behest;
To Thee our morning hymns ascended,
Thy praise shall hallow now our rest.
2. We thank Thee that Thy Church unsleeping,
While earth rolls onward into light,
Through all the world her watch is keeping,
And rests not now by day or night.
3. As o'er each continent and island
The dawn leads on another day,
The voice of prayer is never silent,
Nor dies the strain of praise away.
4. So be it, Lord; Thy throne shall never,
Like earth's proud empires, pass away:
But stand, and rule, and grow for ever,
Till all Thy creatures own Thy sway.
Amen.
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"Crown Him with Many Crowns"
Like Ireland and Scotland, Wales has a
vibrant, healthy modern music scene based on instruments and music that stretch
back hundreds of years. Today there are over 200 Choirs in Wales, with several formed in the 1800s still singing.
Wales has a history of
descendants across the globe. Did you know that sixteen of the men who signed
the Declaration of Independence in America in 1776 had Welsh roots, including
Thomas Jefferson?
The first Welsh immigrants
to America and Canada were as early as the 1600s. In Patagonia, South America a
strong colony of Welsh-speaking ancestors remain today. Many people also
migrated to Wales from across the world thanks to the boom of the coal
industry. Records show that between 1851 and 1911, around 366,000 people came
to the South Wales area to set up home. The migration of people in and out of
Wales has left a significant number of Welsh descendants worldwide.
From Wales, which has a rich history of the great Hymns of the faith, is this especially good presentation of "Crown Him with Many Crowns."
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Live from the St
David's Hall, Cardiff, Wales, on April 19th 2014. From 'The Glory of Easter' - 'Crown
Him with Many Crowns'
With the Cambrensis choir and orchestra, together with the
St David's Praise
choir.
Music by G.J Elvey, arranged by Jeffrey Howard
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"For All the Saints" was sung in an anthem arrangement, by our Youth Choir at South Norfolk Baptist Church, Directed by Mrs. Betty LeBlanc.
For
all the saints, who from their labours rest,
Who
Thee by faith before the world confessed,
Thy
Name, O Jesus, be forever blessed.
Alleluia,
Alleluia!
Thou
wast their Rock, their Fortress and their Might;
Thou,
Lord, their Captain in the well fought fight;
Thou,
in the darkness drear, their one true Light.
Alleluia,
Alleluia!
O
blest communion, fellowship divine!
We
feebly struggle, they in glory shine;
All
are one in Thee, for all are Thine.
Alleluia,
Alleluia!
O
may Thy soldiers, faithful, true and bold,
Fight
as the saints who nobly fought of old,
And
win with them the victor’s crown of gold.
Alleluia,
Alleluia!
And
when the strife is fierce, the warfare long,
Steals
on the ear the distant triumph song,
And
hearts are brave, again, and arms are strong.
Alleluia,
Alleluia!
The
golden evening brightens in the west;
Soon,
soon to faithful warriors comes their rest;
Sweet
is the calm of paradise the blessed.
Alleluia,
Alleluia!
But
lo! there breaks a yet more glorious day;
The
saints triumphant rise in bright array;
The
King of glory passes on His way.
Alleluia,
Alleluia!
From
earth’s wide bounds, from ocean’s farthest coast,
Through
gates of pearl streams in the countless host,
And
singing to Father, Son and Holy Ghost:
Alleluia,
Alleluia!
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The
combined choir of all the performers at the Roland Barr Bentley Memorial
Concert perform Ralph Vaughan Williams "For All the Saints" at Ithaca
College, Hockett Family Recital Hall, May 15, 2010.
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St Edmundsbury Cathedral Choir
For
over 1,000 years, the site of Suffolk 's Cathedral has been one of worship and
pilgrimage. The death of Edmund, King of the East Angles, at the hands of the
Danes in 869 led to the building of an abbey to house his remains. St James's
Church was built within the precincts of the Abbey, becoming a Cathedral in
1914.
St Edmundsbury Cathedral Choir is a voluntary organisation working to the
highest standards to provide music for the worship in St Edmundsbury Cathedral,
the mother church of the diocese of St Edmundsbury and Ipswich in the county of
Suffolk. Ours is a fairly young cathedral (the diocese was created in 1914):
thus there is no cathedral choir school -- the boys attend many different local
primary and middle schools, and some travel considerable distances each day to
attend.
The full choir of 22 boys and 10 men sings four services a week, while the boys
sing an extra one each week on their own and rehearse most mornings before
school. On top of this considerable commitment, the Cathedral Choir also
provides music for special civic and diocesan events, termly visits to parishes
in the diocese, and occasional concerts.
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For all the Saints, sung by the RSCM Millennium Youth Choir, conducted by David Ogden. Recorded in Chester Cathedral
for BBC Songs of Praise.
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Music for All Hollows Eve and All Souls' Day from suggestions for the organist in a recent issue of "The American Organist" magazine:
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All Souls' Day (November 2nd) is described in the following article:
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From the program, "Songs of Praise," at Royal Albert Hall, London, "For All the Saints."
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"Praise, My Soul, the King of Heaven"
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“Praise, My Soul, the King of Heaven”
Based on Psalm 103
Words: Henry F. Lyte, 1793-1847 (Pictured here)
Music: John Goss, 1800-1880
Based on the 103rd Psalm, Henry Lyte's stately hymn of
praise has probably begun more solemn ceremonies than any hymn in the English
language. Lyte himself is of course more immediately connected with his hymn
"Abide With Me" but the story of his hymn-writing goes back to the
time when he was a curate at Marazion in Cornwall where he had come after his
college days in Dublin. There, when he was twenty-five, he had a deep religious
experience caused by the illness and death of a brother clergyman.
This experience turned Lyte from being a conventional and
formal clergyman, with a gift for versifying, into a poet with a religious
message. He says that the death of his friend 'who died happy in the thought
that there was One who would atone for his delinquencies' made him 'study my
Bible and preach in another manner than I had previously done'.
This free paraphrase of Psalm 103 was published in his book “Spirit
of the Psalms” in 1834, when he was in his ministry at Brixham, the Devon
fishing port. The Brixham fishermen are famous for their gallantry and daring
in the stormy waters of the Atlantic fishing grounds, and Lyte's hymn has
something of the tenderness of strong men in dangerous places, as illustrated
in this verse from the hymn:
“Father-like He tends and spares us;
Well our feeble frame He knows:
In His hands He gently bears us,
Rescues us from all our foes:”
The hymn was chosen by Queen Elizabeth for her wedding to
the Duke of Edinburgh on November 20,1947 - also the day of the centenary of
Lyte's death.
Lyte captures the measure of the Psalm in unforgettable
verses. It has time, eternity, God and man all locked in its embrace, and its
last verse has the soaring quality of high religion. In one grand sweep the
writer brings the whole created universe into the act of praise.
Praise, my soul, the King
of heaven,
To his feet thy tribute bring;
Ransomed, healed, restored, forgiven,
Who like me his praise should sing?
Alleluia! Alleluia!
Praise the everlasting King.
Praise him for his grace and favour
To our fathers in distress;
Praise him still the same as ever,
Slow to chide, and swift to bless:
Alleluia! Alleluia!
Glorious in his faithfulness.
Father-like, he tends and spares us,
Well our feeble frame he knows;
In his hands he gently bears us,
Rescues us from all our foes:
Alleluia! Alleluia!
Widely as his mercy flows.
Angels, help us to adore him;
Ye behold him face to face;
Sun and moon, bow down before him,
Dwellers all in time and space:
Alleluia! Alleluia!
Praise with us the God of grace.
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“I was glad”
written by
Sir Charles Hubert
Hastings Parry
Based on the
Scripture:
(Psalm 122:1-3, 6-7)
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"Jesus is Tenderly Calling"
Words: Fanny Crosby Music: George C. Stebbins
Jesus is tenderly calling you home
Calling today, calling today,
Why from the sunshine of love will you roam,
Farther and farther away?
Refrain
Calling
today, calling today,
Jesus is calling, is tenderly calling today.
Jesus is calling the weary to rest,
Calling today, calling today,
Bring Him your burden and you shall be blest;
He will not turn you away.
Refrain
Jesus is waiting, O come to Him now,
Waiting today, waiting today,
Come with your sins, at His feet lowly bow;
Come, and no longer delay.
Refrain
Jesus is pleading, O list to His voice,
Hear Him today, hear Him today,
They who believe on His Name shall rejoice;
Quickly arise and away.
Refrain
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Some music on this page from the Gospel Center Choir, Durham, North Carolina.
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Will Thompson, a Southern Baptist, wrote the hymn, "Softly and Tenderly Jesus is Calling," which appears in over 600 hymn books, and has been translated into more languages than any other hymn.
When the world-renowned preacher, Dwight L. Moody, lay
on his deathbed in his Northfield, Massachusetts, home, Will Thompson made a
special visit to inquire as to his condition. The attending physician refused
to admit him to the sickroom, and Moody heard them talking just outside the
bedroom door. Recognizing Thompson’s voice, he called for him to come to his
beside. Taking the Ohio poet-composer by the hand, the dying evangelist said,
“Will, I would rather have written “Softly and Tenderly Jesus is Calling” than
anything I have been able to do in my whole life.”
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Prelude, Offertory, Postlude
(Some thoughts on the purpose of the prelude, offertory, and postlude; as a former Choir Director and Sub-Organist before entering full-time ministry.)
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Several examples of preludes used for processionals are included. A careful
reading of the order of service in the bulletins used at South Norfolk
Baptist, reveal that in the 1940s and early 1950s, the choir entered the
choir loft with a processional at the beginning of the morning and
evening services. Worship was dignified and reverent, with no children
running up and down the aisles, or loud, boisterous talking, as is seen there today. Several examples offered here include close up's of the organist, and in some cases, a behind-the-scenes look at the organ while it is being played.
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Gordon Young was born October 15, 1919,
McPherson, KS; died October 2, 1998, St. Clair Shores, MI; American organist,
educator, and composer; taught organ at Wayne State University; organist and
director at the First Presbyterian Church in Detroit. He wrote the hymn, "Praise ye the name of the Lord of Hosts."
Here is a sample of different organists playing his "Prelude in Classic Style."
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Church of the Palms, Delray Beach FL
features Director of Music, Ed Krynicki and Pianist Elarine Reinhardt in this
program of Piano Organ Duets. Video by John E McGovern:
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"Prelude
In Classic Style" at Sydney Town Hall played by Quinn Dillion. (Unfortunately, the performance was marred by background noise):
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Quinn Dillion, at age 10, plays "Fantasia in D Minor," by Telemann:
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Joshua Sobel plays "Prelude in Classic Style," on the 101 Stop, 98 Rank, 5 Manual pipe organ, built by Canadian firm of Orgues Letourneau, at the Edenton Street United Methodist Church, Raleigh, N.C.
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Henry Smart was born October
25, 1813, in London. He was the son of a music publisher,
orchestra director, and an accomplished violinist (also called Henry Smart). His uncle, Sir George Thomas
Smart, was one of the greatest English conductors and was also the organist of
St. George's, Windsor.
Henry Thomas
studied music with his father and attended school at Highgate. As a boy, he
spent free time at the Robson organ factory and attended scientific lectures at
the Royal Institution. As a twelve year-old, he had a talent for mechanical
drawing. Later, he refused a commission in the Indian Army so that he could
study law. But after four years of a legal career, he completely directed his
time and talent to the study of music. He built on his father's earlier
training to study on his own. Soon, he was recognized as one of England's
finest organists and as an accomplished composer.
He served as
organist at the Parish Church, Blackburn, Lancashire, 1831-1836; at St.
Philip's, Regent Street, London, 1838-1839; at St. Luke's, Old Street,
1844-1864; and St. Pancras Church, London, 1865-1879. He designed an organ for
Leeds Town Hall in 1858 and another at St. Andrew's Hall in Glasgow, 1877. He
was one of five organists asked to perform at the Great Exhibition of 1851.
He edited The
Presbyterian Hymnal, 1875, and the Chorale Book, 1856, which was
later considered the standard for hymn-tune harmonization. Lightwood regards
this work as instrumental in determining the harmonic structure of English
hymn-tunes just as Bach's harmonizations did for the German chorale. He was
also the music editor for Psalms and Hymns for Divine Worship,
1867, and the hymn book of the United Presbyterian Church of Scotland.He
also contributed tunes to Hymns Ancient and Modern, 1861, and to Psalms
and Hymns, 1867. Smart also wrote as a music critic for the weekly journal,
the Atlas.
Smart composed
a variety of music including cantatas, trios, duets, songs, an opera, an
oratorio, services, organ music, and many hymn tunes.
His eyesight
began to wane at age eighteen and he was stricken with complete blindness at
age fifty-two. But his daughter recorded all of his compositions for him. Plus,
his long recognized gift for extemporizing allowed him to continue his work as
organist, composer, and superintendent of more organ installations. He died
July 6, 1879, in London.
Regent Square, by Henry Smart, was written for Psalms and Hymns for
Divine Worship, 1867, a hymnbook for the English Presbyterian Church. Dr.
Hamilton, editor of Psalms and Hymns for Divine Worship and also Pastor
of the prominent English Presbyterian Church in London on Regent Square, named
the tune after the location of his church.
He is remembered at Christmastime for his Carol, "Angels from the Realms of Glory."
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Dr. Seth Nelson, Organist at First Baptist Church, San Antonio, Texas, plays the Bach "Fugue in D, BWV 532" as a postlude, June 17, 2018.
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Dr. Seth Nelson, Organist, First Baptist Church, San Antonio, TX, plays "Toccata on Mendelssohn" arr. Young:
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Albert W. Ketelbey
British orchestra conductor, organist, and composer.
"In a Monastery Garden" was one of his most famous works, for organ and adapted for orchestra.
He was a brilliant musician by all accounts. He was an organist at age 16.
Information about his life and some examples of his work follow:
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