Rev. Frank Hughes, Jr.
NOTE: Large sound files may take time to open and play automatically. You can "right click" with "mouse" and "save link" to your computer "desktop;" then play with "left click" to activate the file.
Included on this page:

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

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.

    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.

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.

Words: Fanny J. Crosby
Music: William H. Doane

"Span Master" shortwave radio by Knight Kit
Here is what the BBC sounded like on his shortwave set:
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):
"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. 


            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. 



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. 



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.


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.


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.


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.


He took my sins and my sorrows,
He made them His very own;
He bore the burden to Calvary,
And suffered and died alone.


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.


"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.

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.

I will praise my dear Redeemer,
His triumphant power I'll tell,
How the victory He giveth
Over sin, and death, and hell.

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.

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.

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.

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.

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.

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.

"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.

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.

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.

If they lead through the temple holy,
Preaching the Word;
Or in homes of the poor and lowly,
Serving the Lord.

Then, at last, when on high He sees us,
Our journey done,
We will rest where the steps of Jesus
End at His throne.


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!



            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!



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!



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!



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!



“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.

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:

"It is Well with My Soul"
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:
"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.


"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.

Music for All Hollows Eve and All Souls' Day from suggestions for the organist in a recent issue of "The American Organist" magazine:
All Souls' Day (November 2nd) is described in the following article:
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?


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.


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.


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.


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 his "Prelude in Classic Style."

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:

"Prelude In Classic Style" at Sydney Town Hall played by Quinn Dillion. (Unfortunately, the performance was marred by background noise):

Quinn Dillion, at age 10, plays "Fantasia in D Minor," by Telemann:
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.

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."

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.
Dr. Seth Nelson, Organist, First Baptist Church, San Antonio, TX, plays "Toccata on Mendelssohn" arr. Young:
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:
"Sanctuary of the Heart" (Religious Meditation) and "The Sacred Hour" were two other well-known pieces composed by Ketelbey, and used by church organists.

Sanctuary of the Heart is one of the few pieces by Ketèlbey imbued with emotional tension.  It means widely different things to different people.   Andrew Lloyd Webber has even said he would like it played at his funeral.

The picture in the composer's mind when writing this piece was that of a lonely wanderer from a foreign land, hearing again an old religious melody that was familiar to him in his childhood, and the memories evoked by his thoughts bring solace and comfort to the heart of the poor exile.

So the overt message is one of a personal religious experience akin to Paul’s conversion of the road to Damascus.  For the majority of contemporary English listeners, brought up in Anglican or non-conformist circles, the references would have been quite familiar.


The composer himself had been brought up in the Church of England, and as choirboy and later organist would have been familiar with the Psalms in the Book of Common Prayer.  He borrows the phrase "In a strange land" from Psalm 137 By the waters of Babylon, while Psalm 114 When Israel came out of Egypt not only has the words "strange" and "sanctuary" in close proximity, but is traditionally sung in the Church of England to a chant called Tonus Peregrinus, meaning "wanderer tune". 

The sound of solemn chanting

Was borne to me from afar,

And the song seemed to draw me closer,

Like the light of a guiding star;

I turned from out the highway

To the Minster old and grey,

And the voices swelled in welcome

For a stranger come to pray.


My Soul was enthralled by the Message

That came from those voices clear,

And my Heart found a shelter and comfort

From the pain of this world so dark and drear;

I knew then, the Joy and the Gladness

As I prayed to the One above,

“Oh Lord, hear our prayer,

Take away all our care,

And fill all our hearts with Love.”


Oh Lord have mercy upon us,

And upon all those who pray

To Thee, our Father

Who heareth us this day.

 “Oh Lord, hear our prayer,

Take away all our care,

And fill all our hearts with Love.”

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 at South Norfolk Baptist Church, it was possible to follow the carefully marked score, indicating which stops to use.

The famous wedding march composed by Felix Mendelssohn played at the great organ of Turku Cathedral, Finland.


Not really a Prelude, Offertory, or Postlude (except the time Gwen Whitehurst played it for the Sam Tatem wedding, at the end of one morning service!) She and Betty LeBlanc had a lot of experience with this piece! I finally, after long practice, got it down pat too, and played often for smaller church weddings.

My most memorable was the one when I played wedding prelude music for the families to be seated and guests. But then, I went on and on, for 20 minutes more, wondering what had happened to the bride and groom. Dad motioned for me to stop playing and had to announce that the wedding had been called off! Seems the young man had gotten cold feet and fled to North Carolina! The wedding party went ahead to the fellowship hall and enjoyed the refreshments best they could!

Music for 
Palm Sunday

Music for Easter

"He Lives,"
by Simon Dewey

"When I Survey The Wondrous Cross" by Gilbert Martin performed live at First Baptist Church, Jackson, MS on June 17, 2008, by The Mississippi Baptist All-State Youth Choir.

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 the choral director. David Young, Instrumental Contract Consultant, Church Music Department, MBCB, is the choir's orchestra director.

"He is not Here"
(From the Cantata, "Behold Your King" by John W. Peterson)
The Men's Chorus and Choir. Narrator: Mr. Roy Shields, Organist: Gwen Whitehurst, Pianist: Betty LeBlanc. Recorded live at South Norfolk Baptist Church. In Stereo.

"Lift up a Song of Praise"

Duet: Mrs. John Dengel, Mr. Jack Hollowell. Narrator: Mr. Roy Shields.

(From the Cantata "Behold Your King," by John W. Peterson)

Recorded live at South Norfolk Baptist. In Stereo.

A Sermon for Easter

Rev. Hughes preaches a dramatic sermon, in which he role-plays various characters in the Easter story.  This sermon impressed me very much when I first heard it as a youngster.  This follows after the Hymn "Christ the Lord is Risen Today," Scripture Reading, Organ Meditation by Russell Matthews, and Prayer by Pastor Hughes)

–Joe Hughes

"The Holy City"

sung by Mrs. John Dengel.

Organist, Gwen Whitehurst.

Recorded at the South Norfolk Baptist Church

“The Holy City”

Music by Stephen Adams;
words by Frederick E. Weatherly


Last night I lay a-sleeping
There came a dream so fair,
I stood in old Jerusalem
Beside the temple there.
I heard the children singing,
And ever as they sang
Methought the voice of angels
From heaven in answer rang,
Methought the voice of angels
From heaven in answer rang.

Jerusalem! Jerusalem!
Lift up your gates and sing,
Hosanna in the highest!
Hosanna to your King!

And then methought my dream was changed,
The streets no longer rang.
Hushed were the glad Hosannas
The little children sang.
The sun grew dark with mystery,
The morn was cold and chill,
As the shadow of a cross arose
Upon a lonely hill,
As the shadow of a cross arose
Upon a lonely hill.

Jerusalem! Jerusalem!
Hark! How the angels sing,
Hosanna in the highest!
Hosanna to your King!

And once again the scene was changed,
New earth there seemed to be.
I saw the Holy City
Beside the tideless sea.
The light of God was on its streets,
The gates were open wide,
And all who would might enter,
And no one was denied.
No need of moon or stars by night,
Or sun to shine by day;
It was the new Jerusalem
That would not pass away,
It was the new Jerusalem
That would not pass away.

Jerusalem! Jerusalem!
Sing for the night is o'er!
Hosanna in the highest!
Hosanna forevermore!

Chauncey German, former Choir Director, South Norfolk Baptist Church,  sings "I Walked Today Where Jesus Walked," by Geoffrey O'Hara.  He is accompanied by Organist, Gwen Whitehurst. Recorded at South Norfolk Baptist Church.


I walked today where Jesus walked,
In days of long ago.
I wandered down each path He knew,
With reverent step and slow

Those little lanes, they have not changed,
A sweet peace fills the air.
I walked today where Jesus walked,
And felt His presence there.

My pathway led through Bethlehem,
A memory's ever sweet.
The little hills of Galilee,
That knew those childish feet.

The Mount of Olives, hallowed scenes,
That Jesus knew before
I saw the mighty Jordan roll,
As in the days of yore.

I knelt today where Jesus knelt,
Where all alone He prayed.
The Garden of Gethsemane,
My heart felt unafraid.

I picked my heavy burden up,
And with Him by my side,
I climbed the Hill of Calvary,
I climbed the Hill of Calvary,
I climbed the Hill of Calvary,
Where on the Cross He died!

I walked today where Jesus walked,
And felt Him close to me.

Gwen Whitehurst, Organist and Betty LeBlanc, Pianist
play an Offertory for Easter, "Fantasia on Duke Street." Recorded live at the South Norfolk Baptist Church.  In Stereo.

Live from the St David's Hall, Cardiff, 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

"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.
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!


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!


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


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):

It was John Stainer who was instrumental in the resurgence of the Christmas Carol.  Here we see the hymn "Once in Royal David's City."
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."

"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
Christmas Carillon Music from Ridgecrest  Baptist Assembly
Ridgecrest, North Carolina

The RBA Staff celebrated "Christmas in July" and the Schulmerich Carillon was programmed to play Christmas Carols for this one day event.  Pictures from the  time when Joe served on the Staff 1966-68, are shown while the music plays.

"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.


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.


"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.



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.




Say, ye holy shepherds,say,

What your joyful news today;

Wherefore have ye left your sheep

On the lonely mountain steep?




"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."




Sacred Infant, all divine,

What a tender love was Thine,

Thus to come from highest bliss

Down to such a world as this.




Teach, O teach us, Holy Child,

By Thy face so meek and mild,

Teach us to resemble Thee,

In Thy sweet humility.



(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:
Born in 1877, Henry Balfour Gardiner began piano lessons at age 5; composing four years later.  He attended Charterhouse School; then the Hoch Conservatory in Frankfurt, Germany, finally at New College, Oxford.

His best-known work "Evening Hymn" (1908), a setting of the compline hymn "Te lucis ante terminum", is a lush, romantic work for eight-part choir and organ, of dense harmonies. For most of the time, it sits in four parts, though the treble, alto, tenor, and bass parts all subdivide at various points. It is considered a classic of the English choral repertoire and is still regularly performed as an anthem at Evensong in Anglican churches throughout England.

"Hark the Herald, Angels Sing":
"Once in Royal David's City":
"O Holy Night":
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.

Oxford University's youngest organist joins Jesus College

At the age of 12 Louis Moss has become the youngest person ever to play the organ for an Oxford University College.

He only recently began playing the organ and has now gained a scholarship to play at Jesus College.

Charlotte Winfield went to meet Louis and his family at the college.

Several young organists perform Leon Boellmann'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!


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.”