Rev. Frank Hughes, Jr.
 
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Included on this page:

Hymns, Solos, Cantatas, and Anthems from South Norfolk.
Music for: Palm Sunday, Easter Sunday, Christmas, Thanksgiving.
Solos by Chauncey German.

Topics:
Importance of the Invitation Hymn.
The Prelude, Offertory, and Postlude.
Young People and Church Music.
The Pipe Organ in a Church.

Music for Worship    

                                                        

"To God Be the Glory" was the opening theme song for the evening service from South Norfolk Baptist Church broadcast live on WXRI-FM
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
The Choir and Congregation of Truro Cathedral, England, sing "To God Be the Glory."





"Span Master" shortwave radio by Knight Kit
"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):

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:

Dr. Catharine Crozier, 80 years old, plays the Hazel Wright Pipe Organ: Widor's "Toccata":
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:     
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:

Angus Webster, 12 years of age, at the console of the King Charles Church Pipe Organ rebuilt by Lance Foy of Truro.

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."

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. 
Welsh Chapel Choir
"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)


Call to Worship: "Spirit of the Living God"

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.

"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.


“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)

Hymns for Worship
"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

"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


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




"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."



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



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.)

“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

  1. 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.
  2. 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.
  3. 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.
"Come, Thou Fount of Every Blessing"

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.

“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.


"All Hail the Power of Jesus' Name"

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.

"All Hail the Power of Jesus' Name" (arr. by Joan Pinkston):

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.

Hymn "All Hail The Power of Jesus' Name" (Miles Lane) - Duke University Chapel

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)

"The Church´s One Foundation" - Martin Luther College - New Ulm, Wisconsin

"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.

"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:

"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.


"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.
Recorded from the Radio: Old Fashioned Revival Hour:

“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.


"Great is Thy Faithfulness"

"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:

"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.
"Fairest Lord Jesus" sung by local school children with the congregation of Truro Cathedral joining in. (from public domain)

“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.

"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."

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

"For all the Saints"
"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!

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.

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.

 

For all the Saints, sung by the RSCM Millennium Youth Choir, conducted by David Ogden. Recorded in Chester Cathedral for BBC Songs of Praise.

From the program, "Songs of Praise," at Royal Albert Hall, London, "For All the Saints."
"Praise, My Soul, the King of Heaven"

“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.

“I was glad”

written by

Sir Charles Hubert Hastings Parry

Based on the Scripture:

(Psalm 122:1-3, 6-7)

Invitation Hymns
"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







Some music on this page from the Gospel Center Choir, Durham, North Carolina.
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.”

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.)

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.

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 "Prelude in Classic Style":

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."

Alexandre Guilmant enjoyed an international reputation as a concert organist. He was for 30 years organist at the Trinité in Paris and he succeeded Widor as professor of organ at the Paris Conservatoire. His pupils included Marcel Dupré.

The name of Guilmant is associated with that of Widor in the development of the French organ symphony, represented by Guilmant’s sonatas for the instrument, which take this form. He was a leading figure in the organ music of his generation and provided many original compositions and editions of earlier organ music.

“Cantabile” by Cesar Franck: This beautiful piece of music was played as an offertory by several organists at South Norfolk Baptist Church. I remember hearing this played by Gwen Whitehurst. Because of the range of stops available on the Henry Pilcher’s Sons pipe organ, it was possible to follow the carefully marked score, indicating which stops to use.


Music for Palm Sunday
Music for Easter

Painting:
"He Lives,"
by Simon Dewey


"Christ the Lord Is Risen Today"

Text: Charles Wesley, 1707-1788
Music: Lyra Davidica, 1708

 

  1. Christ the Lord is ris’n today, Alleluia!
    Sons of men and angels say, Alleluia!
    Raise your joys and triumphs high, Alleluia!
    Sing, ye heav’ns, and earth, reply, Alleluia!
  2. Lives again our glorious King, Alleluia!
    Where, O death, is now thy sting? Alleluia!
    Once He died our souls to save, Alleluia!
    Where thy victory, O grave? Alleluia!
  3. Love’s redeeming work is done, Alleluia!
    Fought the fight, the battle won, Alleluia!
    Death in vain forbids His rise, Alleluia!
    Christ hath opened paradise, Alleluia!
  4. Soar we now where Christ hath led, Alleluia!
    Foll’wing our exalted Head, Alleluia!
    Made like Him, like Him we rise, Alleluia!
    Ours the cross, the grave, the skies, Alleluia!


"Thine Be the Glory"


Words: Edmunds L. Bundry (1854-1932)

Music: George F. Handel


Thine be the glory, risen, conquering Son;
endless is the victory, thou o'er death hast won;
angels in bright raiment rolled the stone away,
kept the folded grave clothes where thy body lay.
Refrain:
Thine be the glory, risen conquering Son,
Endless is the vict'ry, thou o'er death hast won.


Lo! Jesus meets us, risen from the tomb;
Lovingly he greets us, scatters fear and gloom;
let the Church with gladness, hymns of triumph sing;
for her Lord now liveth, death hath lost its sting. Refrain

No more we doubt thee, glorious Prince of life;
life is naught without thee; aid us in our strife;
make us more than conquerors, through thy deathless love:
bring us safe through Jordan to thy home above. Refrain


(This second traditional Easter hymn, heard below, is sung to a tune written by the famous German composer, Handel . It tells the story of the first Easter morning and puts us in the place of the disciples with the risen Christ meeting us in verse 2.)

The Kyiv Symphony Orchestra and Chorus open worship at Northland Church with "Christ the Lord is Risen Today." (Soloist Alina Sylnelnikova and Andre Gnatiuk ; Matthew McMurrin, conductor):

From Bellevue Baptist Church, Diane Bish plays the organ, as the choir sings, "Christ the Lord is Risen Today":

"Christ the Lord is Risen Today"  Piano and Organ Duet,
Arr. Joel Raney:

"Low in the grave He lay"

Words and Music: Robert Lowry


Low in the grave He lay, Jesus my Savior,
Waiting the coming day, Jesus my Lord!

Refrain

Up from the grave He arose,
With a mighty triumph o’er His foes,
He arose a Victor from the dark domain,
And He lives forever, with His saints to reign.
He arose! He arose!
Hallelujah! Christ arose!

Vainly they watch His bed, Jesus my Savior;
Vainly they seal the dead, Jesus my Lord!

Refrain

Death cannot keep its Prey, Jesus my Savior;
He tore the bars away, Jesus my Lord!

Refrain

George Beverly Shea sings
"The Old Rugged Cross" and "Then Jesus Came":



(Picture/Video courtesy of The Billy Graham Evangelistic Association)

Easter Sunday Service from St. Marks Church (Anglican), in Maida Vale, London
(Courtesy of BBC "Songs of Praise" and Youtube):






"The Lord's Prayer" sung by the Welsh male chorale "Only Boys Aloud," at St Marks Church, London. (Courtesy of BBC "Songs of Praise" and youtube):




The words for “At Calvary” were written by American hymn writer, William Newell (1868 – 1956). Song leader Daniel Towner wrote the musical portion of the hymn.

 One afternoon, Newell was walking to teach his next class while thinking about Christ’s sacrifice on the cross. When he got to his classroom, he grabbed the only paper around, an old envelope, and the lyrics began to flow out of him. He showed the poem to his friend at the school, Towner, and just as quickly the song leader penned the musical portion. Thus, ” At Calvary” was born in a quick manner.


"Years I spent in vanity and pride,
Caring not my Lord was crucified,
Knowing not it was for me He died on Calvary."


Refrain:
"Mercy there was great, and grace was free;
Pardon there was multiplied to me;
There my burdened soul found liberty at Calvary."


"By God’s Word at last my sin I learned;
Then I trembled at the law I’d spurned,
Till my guilty soul imploring turned to Calvary."


"Now I’ve given to Jesus everything,
Now I gladly own Him as my King,
Now my raptured soul can only sing of Calvary!"


"Oh, the love that drew salvation’s plan!
Oh, the grace that brought it down to man!
Oh, the mighty gulf that God did span at Calvary!"

"In the Cross of Christ I Glory" by John Bowring
Words: John Bowring, Tune by: Ith­a­mar D. Conk­ey.  Tra­di­tion says that Bow­ring was sail­ing past the coast of Ma­cao, Chi­na. On the shore were the re­mains of an old, fire gut­ted church. Above the ru­ins, he saw the church’s cross still stand­ing. The ti­tle of this hymn was carved on Bow­ring’s tomb­stone.

1.  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.

2.  When the woes of life o’ertake me,
Hopes deceive, and fears annoy,
Never shall the cross forsake me,
Lo! it glows with peace and joy.

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

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

5.  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.
Choir Director: Chauncey German.  Narrator: Mr. Roy Shields.  Organist: Mrs. Gwen Whitehurst. Pianist: Mrs. Betty LeBlanc. Soloists: Mr. Ruben Hulion, Mr. Jack Hollowell, Mr. Chauncey German, Mrs. Edna Raper, Duet: Mr. Jack Hollowell and Mrs. Gladys Dengel. Rev. Jerry Odom: thanks the choir and musicians, and asks Rev. Henry Napier, Pastor of Raleigh Heights Baptist Church, to pronounce the benediction. 

(Program begins with an Offertory played by Mrs. Gwen Whitehurst and Mrs. Betty LeBlanc. There is a slight break when the tape is turned over; no part of the cantata is missing). 40 minutes.  In Stereo.

Music for Christmas

"Birthday of a King"


In the little village of Bethlehem,
There lay a Child one day;
And the sky was bright with a holy light
O’er the place where Jesus lay.


Refrain


Alleluia! O how the angels sang.
Alleluia! How it rang!
And the sky was bright with a holy light
’Twas the birthday of a King.


’Twas a humble birthplace, but O how much
God gave to us that day,
From the manger bed what a path has led,
What a perfect, holy way.


Refrain

"See Amid the Winter's Snow"

"See Amid the Winter's Snow" also known as "Hymn for Christmas Day," was written by Edward Caswall, son of a minister; with music composed by Sir John Goss, an organist at St. Paul's Cathedral, London .

See, amid the winter's snow,

Born for us on Earth below,

See, the tender Lamb appears,

Promised from eternal years.

 

Chorus:

Hail, thou ever blessed morn,

Hail redemption's happy dawn,

Sing through all Jerusalem,

Christ is born in Bethlehem.

 

Lo, within a manger lies

He who built the starry skies;

He who, throned in height sublime,

Sits among the cherubim.

 

Chorus

 

Say, ye holy shepherds,say,

What your joyful news today;

Wherefore have ye left your sheep

On the lonely mountain steep?

 

Chorus

 

"As we watched at dead of night,

Lo, we saw a wondrous light:

Angels singing 'Peace On Earth'

Told us of the Saviour's birth."

 

Chorus

 

Sacred Infant, all divine,

What a tender love was Thine,

Thus to come from highest bliss

Down to such a world as this.

 

Chorus

 

Teach, O teach us, Holy Child,

By Thy face so meek and mild,

Teach us to resemble Thee,

In Thy sweet humility.

 

Chorus


(Note that many versions of this carol do not contain all verses.)

"Celtic Toccata on Angels We Have Heard on High" by Grimoaldo Macchia, played by organist Marko Hakanpaa, Finland:

Grimoaldo Macchia - Toccata on "O Come, All Ye Faithful"

(Organist: Marko Hakanpää)

Organ: 68 rank (52 stop) Grönlund organ (2002) at St. Michael's Church in Turku, Finland.

Music from the Chapel of King's College, Cambridge:
John Rutter wrote the beautiful
"The Lord Bless You and Keep You."

The Lord bless you and keep you
The Lord make His face to shine upon you
To shine upon you and be gracious
And be gracious unto you

The Lord bless you and keep you
The Lord make His face to shine upon you
To shine upon you and be gracious
And be gracious unto you

The Lord lift up the light of his countenance upon you
The Lord lift up the light of his countenance upon you
And give you peace, and give you peace
And give you peace, and give you peace

Amen, Amen, Amen, Amen, Amen, Amen

Young People and Church Music

Young people in a church that has an organ and piano, should be encouraged to become part of the music program; piano and organ lessons should be offered.  I was fortunate to have been tutored by the South Norfolk Baptist Church organist, after having had several years of piano lessons.

In the following YouTube videos, you will see a young man who lives in England (George Warren) learning to play the pipe organ, and he does quite well at it. Another video shows two young men perform an organ/piano duet: "Come Ye Thankful People, Come" arranged by Joel Raney; with Joel Trekell at the Organ and Connor Lindahl on the Piano. Several organ students from Finland, perform. And recently added, Angus Webster, 12 years of age, plays a three manual pipe organ.  Also, a news article has been added about a 17 year-old who was recently named organist in a parish church in England.

More videos of Youth Choirs have been recently added that show what can be accomplished in a church with young people of all ages.  A church that majors on entertainment and recreation, to the exclusion of a ministry of music, is missing out on a great opportunity of teaching young people, not only music skills, but great biblical truths found in religious music.
Several young organists perform Leon Boellman's "Suite Gothique":
Angus Webster, 12 years of age, at the console of the King Charles Church Pipe Organ rebuilt by Lance Foy of Truro.
"Holy, Holy, Holy" arr. Joel Raney
(Patty McBrayer and Sam Forbis on the piano)

Young organist steps up to the challenge


A CONGREGATION in Ross-on-Wye is set to welcome possibly the youngest organist in the church's 700-year history.


Laurence John, who is only 17, has been appointed as the organist at St Mary's Parish Church.

He has lived in Ross all of his life and is widely regarded as one of the finest young classical organists in Britain.


As a music scholar at Hereford Cathedral School he plays the cathedral's celebrated four-manual Willis organ frequently and often has lessons on the organ with his tutor Peter Dyke, the cathedral's assistant director of music. (Source: Worcester News, Aug, 2015).

Music for Thanksgiving

Joel Trekell at the Organ, with Connor Lindahl on the Piano, play a Joel Raney arrangement of "Come Ye Thankful People, Come."

First Baptist Church, Asheville, North Carolina:
St. George's Chapel, Windsor Castle, England:
"Come, ye thankful people, come" is a harvest hymn written in 1844, by Henry Alford. Tune: George J. Elvey, 1858. (In public domain.)

1.	Come, ye thankful people, come, 
	raise the song of harvest home; 
	all is safely gathered in, 
	ere the winter storms begin. 
	God our Maker doth provide 
	for our wants to be supplied; 
	come to God's own temple, come, 
	raise the song of harvest home. 

2.	All the world is God's own field, 
	fruit as praise to God we yield; 
	wheat and tares together sown 
	are to joy or sorrow grown; 
	first the blade and then the ear, 
	then the full corn shall appear; 
	Lord of harvest, grant that we 
	wholesome grain and pure may be. 

3.	For the Lord our God shall come,
	and shall take the harvest home; 
	from the field shall in that day 
	all offenses purge away, 
	giving angels charge at last 
	in the fire the tares to cast; 
	but the fruitful ears to store 
	in the garner evermore. 

4.	Even so, Lord, quickly come,
	bring thy final harvest home; 
	gather thou thy people in, 
	free from sorrow, free from sin, 
	there, forever purified, 
	in thy presence to abide; 
	come, with all thine angels, come, 
	raise the glorious harvest home.


Text: Nederlandtsch Gedencklanck; trans. by Theodore Baker
Music: 16th cent. Dutch melody; arr. by Edward Kremser (1838-1914)


1. We gather together to ask the Lord’s blessing;
He chastens and hastens His will to make known.
The wicked oppressing now cease from distressing.
Sing praises to His Name; He forgets not His own.


2.  Beside us to guide us, our God with us joining,
Ordaining, maintaining His kingdom divine;
So from the beginning the fight we were winning;
Thou, Lord, were at our side, all glory be Thine!


3.  We all do extol Thee, Thou Leader triumphant,
And pray that Thou still our Defender will be.
Let Thy congregation escape tribulation;
Thy Name be ever praised! O Lord, make us free!

EXAMPLES OF YOUTH CHOIRS AROUND THE COUNTRY:

MS BAPTIST ALL-STATE YOUTH CHOIR and ORCHESTRA:  “To God Be The Glory" arr. Jeff Cranfill, performed live at First Baptist Church, Jackson, MS on June 17, 2008:

Music written with words taken directly from the
King James Bible:

"The Heavens are Telling" by Franz Joseph Haydn, based on the Book of Genesis in the Bible.
Guest Conductor: Dr. Lee Nelson
2014 Iowa All-State Chorus
November 22, 2014, Courtesy of Iowa Public Television

Joseph Haydn: “The Heavens Are Telling the Glory of God” – San Antonio Choral Society, Tour 2014, our celebratory 50th season; Concert in St. Stephen's Cathedral, Vienna, Austria (July 3, 2014);
"Immortal, Invisible, God Only Wise"
was written by

 
Walter Chalmers Smith, D.D., who was born at Aberdeen Dec. 5, 1824, and educated at the Grammar School and University of that City. He pursued his Theological studies at Edinburgh, and was ordained Pastor of the Scottish Church in Chadwell Street, Islington, London, Dec. 25, 1850. After holding several pastorates he became, in 1876, Minister of the Free High Church, Edinburgh. He was Moderator of the Association in 1893.

The hymn is based on I Timothy 1:17,  "Now unto the King eternal, immortal, invisible, the only wise God, be honour and glory for ever and ever", "Immortal, Invisible, God Only Wise" reminds us of the awe and reverence that we need to have as we worship our God. Even as we cannot see the sun, we see merely the light reflected by the hot gases surrounding the sun, so God's glory is hid from our eyes. Even the angels cover their faces in God's presence (Isaiah 6:2) because they cannot look on God's full glory.

"Immortal, Invisible, God Only Wise" draws from other Scriptural references as well. "The Ancient of Days" from stanza one is from Daniel 7:9. "Thy justice like mountains" from stanza two is from Psalm 36:6. Originally written with six stanzas, stanza four referenced II Corinthians 3:15-16. The original stanzas four and five were combined to make the contemporary fourth stanza.


The text focuses on the Creator of the universe, the invisible God whose visible works in nature testify to his glory and majesty. "Light" is the prevailing image in stanzas 1, 2, and 4 (see also Ps. 104:2); our inability to see God is not because of insufficient light but because the "splendor of light hides [God] from view."

The Congregation and Choir, Halifax Minster, West Yorkshire, England, sing the hymn, "Immortal, Invisible, God Only Wise":

About Halifax Minster Church, which was dedicated to John the Baptist who baptized Jesus:


There has certainly been a church at Halifax for about 900 years. The Minster, formerly a Parish Church until 23 November 2009, was completed by about 1438. It comprises a nave, chancel and full-length aisles, and is thought to be the third church on this site, but it includes stonework from earlier periods. There are a few carved chevron stones, which date from before 1150, and several 12th century tomb-covers in the porch. Windows of the Early English style in the north wall are replacements of originals dating from the 14th century. A portion of this north wall is much earlier, and may have originally been part of the Norman church; it has sometimes been claimed this was the south wall of an older church.

 

A small portion of Medieval stained-glass survives in the upper westernmost clerestory window, which was removed from other windows in the mid 19th century. The Puritans who were prominent in the town in the 17th century, thought stained glass with its ‘images’ was an abomination. During the Commonwealth (1649–1660) many plain-glass leaded windows of a unique design were installed, paid for by Mrs Dorothy Waterhouse. Many of these were later replaced by Victorian stained glass, but those that survived in 1958 were carefully rebuilt. At that date there were three of these on each side of the chancel, but now there are five on the south side and only one on the north. The large west window in the tower is a late 19th-century reconstruction of a Commonwealth window dating from 1657, but contains no original work. The great east window of the church depicts the Crucifixion and Resurrection of Jesus, and was completed in 1854. It is the work of George Hedgeland (1825–98), who exhibited stained glass at the Great Exhibition of 1851. The remaining glass in the Parish Church dates also from the Victorian and Edwardian periods.



The organ, built in 1763, and installed in 1766, was built by John Snetzler. The organ has been enlarged several times in the 19th and 20th centuries. It was completely rebuilt in 1928 by Harrison & Harrison of Durham. Only a small amount of the Snetzler work remains in the present instrument. Simon Lindley of Leeds Parish Church describes this instrument as “the Rolls Royce of organs.”

About the Organist at Halifax:

Philip Croft Tordoff was born in Cleckheaton and educated at Whitcliffe Mount Grammar School and Downing College, Cambridge where he was Organ Scholar. Having gained the ARCO at the age of 17, he became an FRCO in 1960. He joined the staff of Hipperholme Grammar School as its first ever Music Master in 1961 and stayed there for thirty-six years. Following organ posts at Broomfield Methodist, St Andrew’s, Oakenshaw and St John’s, Bierley he was appointed to Halifax Parish Church, now Minster, in 1971, where he is now Organist Emeritus. He has given recitals around the country, including King’s, St John’s and Trinity Colleges, Cambridge, and at Liverpool Anglican, Bradford, Wakefield, and Newcastle Cathedrals.



MUSICIAN Philip Tordoff has celebrated his 1,000th organ recital - 70 years after his first piano lesson.

(By Andrew Robinson, for the Yorkshire Evening Post, 18 May 2013)

The 75-year-old former music master played the organ at Westgate Chapel in Wakefield yesterday, marking a major milestone in his musical career.

His first recital was 50 years ago at St Andrew’s Church, Oakenshaw, Bradford where he was the organist at the time.

From 1971 he was the organist at Halifax Parish Church (now Halifax Minster) and many of the thousand recitals have been given there.

Mr Tordoff, 75, was born in Cleckheaton in 1937 and still lives there. He began studying piano aged five but switched to the organ in 1950.

In 1951, at a salary of £12 a year, he took up his first engagement as organist at Broomfield Methodist Church, Cleckheaton. He was a pupil at that time at Whitcliffe Mount Grammar School, Cleckheaton.

In 1955 he became an Associate of the Royal College of Organists, gaining the Sawyer Prize for high marks in organ playing.

A year later, when he was 19, he gained an organ scholarship to Downing College, Cambridge.

He became a Fellow of the Royal College of Organists in 1960, again winning a prize for his marks in organ playing.

From 1961 until his retirement in 1997, Mr Tordoff was the music master at Hipperholme Grammar School (the first that the school, founded in 1648, had had).

At the same time he served as the organist of St John’s, Bierley, Bradford.

Mr Tordoff’s long connection with Halifax Parish Church began in 1971 when he was appointed as the organist and choirmaster.

He was invited to take up the post by Canon Archibald Hardie who had been Vicar of Halifax since 1962.

The previous three organists had each stayed for only about two years. Now the organist emeritus, Mr Tordoff is still there.

Yesterday Mr Tordoff said it was a pleasure to provide the music at important moments in people’s lives, including at weddings and funerals.

“Halifax Minster is a wonderful church and has the finest organ in the North of England. I like to play the pieces of JS Bach. My parents were both musical and I started learning the piano when I was five and I really took to it. When I was 12 my father suggested I learn the organ.

“I had a financial incentive at first as I would get a guinea for weddings. Then it was £2 and now it can be £60 to £100. But I never did it for the money. I used to do a lot but not so many now."

About the Organ at Halifax Minster:

Although there may have been organs in the church much earlier, the first organ of which we have much knowledge is the one that the famous Swiss organ builder, John Snetzler, built in 1766. It had three manuals and no pedals, and was located on a gallery at the west end of the nave. As was usual for an English organ of this period, the Great and Choir organs went down to G below the modern bottom C, whilst the Swell only went down to tenor C.

This organ was added to by Gray in 1836 and by William Hill in 1842 and 1869. The church was re-ordered in 1878, and a new organ, incorporating some Snetzler pipework, was built on the north side of the chancel by Abbott and Smith.

By 1926, the organ was in a parlous condition. Harrison and Harrison of Durham were invited to submit plans for a new instrument, and within a few weeks, Arthur Harrison produced a specification that is little different from the instrument as built. The new organ cost £7,000, of which half was given by a Mr. Standeven. The organ was installed during 1929, and opened by Edward Bairstow, the organist of York Minster.

Interestingly, an 8′ open diapason from the Abbott and Smith instrument now stands on the swell organ in the chapel of King’s College, Cambridge.

A small amount of Snetzler’s pipework remains in the present instrument – the 8′ and 4′ flutes on the choir organ and the stopped diapason and open diapason no. 3 on the great are certainly Snetzler pipes. Whether any other pipes are Snetzler in provenance is debatable.

The organ was re-built in the 1970s by J.W. Walker & Co.  Fortunately, very few changes were made either tonally or as regards the mechanism. The only significant change was that the Great mixture was modified from a “harmonics” mixture of 17.19.21.24 to a quint mixture of 19.22.26. The instrument retained its tubular pneumatic mechanism from 1929. No aids to registration have been added since 1929: there are no general combination pistons and no sequencer, making this instrument one of the few remaining large organs in the UK without such devices.

Beardsley Van de Water was born in Oswego, NY, and was an accomplished organist, Musical Director of Westminster Presbyterian Church, and Westminster Choral Society, NY. 

He composed some of the greatest religious vocal solo music, based strictly on the Scripture. 

His "The Penitent" and "The Publican" were both sung by Chauncey German and Joe Hughes at South Norfolk Baptist Church.

Luke 18:10-14

King James Version (KJV)

10 Two men went up into the temple to pray; the one a Pharisee, and the other a publican.

11 The Pharisee stood and prayed thus with himself, God, I thank thee, that I am not as other men are, extortioners, unjust, adulterers, or even as this publican.

12 I fast twice in the week, I give tithes of all that I possess.

13 And the publican, standing afar off, would not lift up so much as his eyes unto heaven, but smote upon his breast, saying, God be merciful to me a sinner.

14 I tell you, this man went down to his house justified rather than the other: for every one that exalteth himself shall be abased; and he that humbleth himself shall be exalted.

Luke 15:11-24

King James Version (KJV)

11 And he said, A certain man had two sons:

12 And the younger of them said to his father, Father, give me the portion of goods that falleth to me. And he divided unto them his living.

13 And not many days after the younger son gathered all together, and took his journey into a far country, and there wasted his substance with riotous living.

14 And when he had spent all, there arose a mighty famine in that land; and he began to be in want.

15 And he went and joined himself to a citizen of that country; and he sent him into his fields to feed swine.

16 And he would fain have filled his belly with the husks that the swine did eat: and no man gave unto him.

17 And when he came to himself, he said, How many hired servants of my father's have bread enough and to spare, and I perish with hunger!

18 I will arise and go to my father, and will say unto him, Father, I have sinned against heaven, and before thee,

19 And am no more worthy to be called thy son: make me as one of thy hired servants.

20 And he arose, and came to his father. But when he was yet a great way off, his father saw him, and had compassion, and ran, and fell on his neck, and kissed him.

21 And the son said unto him, Father, I have sinned against heaven, and in thy sight, and am no more worthy to be called thy son.

22 But the father said to his servants, Bring forth the best robe, and put it on him; and put a ring on his hand, and shoes on his feet:

23 And bring hither the fatted calf, and kill it; and let us eat, and be merry:

24 For this my son was dead, and is alive again; he was lost, and is found.

"Consider and Hear Me," solo by Chauncey German, is taken from Psalm 13 (KJV).  (Organist: Gwen Whitehurst)

Psalm 13

King James Version (KJV)

13 How long wilt thou forget me, O Lord? for ever? how long wilt thou hide thy face from me?

How long shall I take counsel in my soul, having sorrow in my heart daily? how long shall mine enemy be exalted over me?

Consider and hear me, O Lord my God: lighten mine eyes, lest I sleep the sleep of death;

Lest mine enemy say, I have prevailed against him; and those that trouble me rejoice when I am moved.

But I have trusted in thy mercy; my heart shall rejoice in thy salvation.

I will sing unto the Lord, because he hath dealt bountifully with me.


Music from Massanetta
(Chauncey German, who directed the music for South Norfolk Baptist Church and sang in a quartet at First Presbyterian Church, Norfolk, was also a member of a quartet which sang at the Massanetta Springs Presbyterian Camp and Conference Center.  Some of his music was given to me, courtesy of Jimmie Scott, former member of the South Norfolk Baptist Church Choir. Name of organist is not known.)

















"The Good Shepherd" by Warner Sallman
"Psalm 150" by Cesar Franck, with words taken directly from the Bible, was often sung by the South Norfolk Baptist Church Choir. Here it is presented by the First Baptist Church Choir, Augusta, Georgia. It was in this church that the Southern Baptist Convention was started.

"Psalm 150" - Cesar Franck

2nd Annual Community Choral Festival - March 6, 2011 - Greater Bridgeport AGO - United Congregational Church - benefit for the Norma F. Pfriem Urban Outreach Initiatives - Massed Choir conducted by Carole Ann Maxwell, Galen Tate, organ:

Psalm 121 is here presented in music by the Turtle Creek Chorale

 

Psalm 121  (KJV)

 

1: I will lift up mine eyes unto the hills, from whence cometh my help.
2: My help cometh from the LORD, which made heaven and earth.
3: He will not suffer thy foot to be moved: he that keepeth thee will not slumber.
4: Behold, he that keepeth Israel shall neither slumber nor sleep.
5: The LORD is thy keeper: the LORD is thy shade upon thy right hand.
6: The sun shall not smite thee by day, nor the moon by night.
7: The LORD shall preserve thee from all evil: he shall preserve thy soul.
8: The LORD shall preserve thy going out and thy coming in from this time forth, and even for evermore.

Not far from the seminary I attended in Wake Forest, is Duke Chapel in Durham.  I occasionally visited their services, including one occasion when Rev. Billy Graham was preaching. On several occasions, the choir would sing as a call to worship, "Cry Out and Shout" by Knut Nystedt.

Here is a recording of "Cry Out and Shout," which is based on Isaiah 12.

Isaiah Chapter 12  (KJV)

 

1: And in that day thou shalt say, O LORD, I will praise thee: though thou wast angry with me, thine anger is turned away, and thou comfortedst me.
2: Behold, God is my salvation; I will trust, and not be afraid: for the LORD JEHOVAH is my strength and my song; he also is become my salvation.
3: Therefore with joy shall ye draw water out of the wells of salvation.
4: And in that day shall ye say, Praise the LORD, call upon his name, declare his doings among the people, make mention that his name is exalted.
5: Sing unto the LORD; for he hath done excellent things: this is known in all the earth.
6: Cry out and shout, thou inhabitant of Zion: for great is the Holy One of Israel in the midst of thee.

Isaiah Chapter 12  (As it appears in the Original 1611 KJV Bible)

"O, divine Redeemer!"  by Charles Gounod

Charles Gounod (pronounced "goo-know") (1818-1893) composed several hundred sacred solo songs, including his 1852 setting of the Catholic hymn “Ave Maria” with a long-breathed melody added atop the first Prelude from Bach's Well-Tempered Clavier. Forty years later, after a lifetime spent as a composer of operas, oratorios, and masses, Gounod, a devoutly religious albeit also a deeply sinful man, composed in April 1893 his last sacred song, his last work for voice and orchestra, and one of his last pieces altogether.

 

Known as “Repentir,” (meaning “Repentance”) Gounod wrote both the words and the music. Unpublished and unperformed while Gounod lived, the work was first published in the French literary magazine La Revue de Paris in an arrangement for voice and piano by M. Paladilhe.  Repentir,” subtitled "Scene sous forme de priere" (Scene in the form of a prayer), has all the characteristics of Gounod's best music: simplicity, clarity, and taste, but it also has a depth of feeling and a directness of expression that have made “Repentir” one of the most popular of late Romantic French religious songs for orchestra.

-description by James Leonard

What then has made this song so remarkably universally treasured by many today? Certainly the lyrical tune is easy to remember. The text also speaks to the hearts of all listeners who love the Savior and trust in Him for forgiveness of their sins. But also impressive is the knowledge that this gifted, inspired composer chose to close his long career in sacred music, with this final moving testimony.

Ah! Turn me not away,
Receive me tho' unworthy;
Hear Thou my cry,
Behold, Lord, my distress!
Answer me from thy throne
Haste Thee, Lord to mine aid,
Thy pity shew in my deep anguish!
Let not the sword of vengeance smite me,
Though righteous thine anger,
O Lord! Shield me in danger, O regard me!
On Thee, Lord, alone will I call.
O Divine Redeemer!
I pray Thee, grant me pardon,
and remember not, remember not my sins!
Forgive me, O Divine Redeemer!
Night gathers round my soul;
Fearful, I cry to Thee;
Come to mine aid, O Lord!
Haste Thee, Lord, haste to help me!
Hear my cry! Save me Lord in Thy mercy;
Come and save me O Lord
Save, in the day of retribution,
From Death shield Thou me, O my God!
O Divine Redeemer, have mercy!
Help me, my Saviour!

Dixit Dominus is a psalm setting by George Frideric Handel (catalogued as HWV 232). It uses the Latin text of Psalm 110 (Vulgate 109),

which begins with the words Dixit Dominus ("The Lord Said").

The work was completed in April 1707 while Handel was living in Italy. It is Handel's earliest surviving autograph. The work was written in the baroque style and is scored for five vocal soloists (SSATB), chorus, strings and continuo.
Michel Corboz
conductor
(photo courtesy of Michel Corboz Ensemble website)

Pipe Organs: still used in Southern Baptist Churches

Many years ago, Rev. Hughes was invited to attend a sacred organ concert, along with other Southern Baptist ministers, during their annual SBC convention in Ocean Grove, N.J.  He brought home an interesting brochure about the organ.  I include this brief video description of the organ, the organist, Nathan Laube, and visual demonstration of the organ. The organ has five keyboards (or manuals), a pedal board (or 'keyboard for the feet'), hundreds of stops, and over 11,000 pipes. As Laube explains, "You have this incredible machine you're driving. It's like the cockpit of an airplane." Laube studied at the Curtis Institute of Music and assisted on the Wanamaker Organ in Philadelphia. He is currently Artist-in-Residence at the American Cathedral in Paris. Musical excerpts from the Ocean Grove concert of August 8, 2012, include Widor's Symphony no. 5, Durufle's Suite for Organ, Mendelssohn's Variations Serieuses, and Liszt's Les Preludes. I will always be grateful for the wide range of educational and religious opportunities that Dad and Mother provided to us children, as we grew up; and later, were able to travel with them to various religious and educational institutions, as well as the National Parks with their interpretative programs.    
Hymns are still used in many churches, despite what you may be told by a pastor and 'worship leader' who want you to believe otherwise.  Consider some of the great hymns of  faith presented by the choir and congregation of Cleveland Baptist Church, Ohio (below).  Notice the young people playing the various orchestral instruments.
Hymns inspired by poetry
Paul Laurence Dunbar was a poet and writer who attended Dayton Ohio public schools.  He was  the only African American in the Central High School class of 1890.  At Central High, Paul edited the school newspaper and was a member of the literary and debate societies.  It was while I was doing research on the Wright Brothers while in the Army, that I discovered that Orville Wright was a member of Paul's high school class.  He printed a newspaper that Paul published and edited for the Black community of West Dayton, the "Dayton Tattler."  Paul was an inspiration to poet James Weldon Johnson who wrote "Lift Every Voice and Sing" and was set to music by his brother John R. Johnson, in 1905.  It found it's way into the Episcopal and other hymnals. Many people are surprised to learn that this song was first written as a poem.  It was performed for the first time by 500 school children in celebration of President Lincoln's Birthday on February 12, 1900, in Jacksonville, Florida.  It is presented here as sung by the Abyssinian Baptist Church, introduced by Dr. Calvin Butts.