CWB goes into a series of “Oh God” prayer/hymns here including this Frederick Herman Kaan text, here set to George Clement Martin‘s CHILTON FOLIAT… not the Beatles’ George Martin.
The wonderful people at Hope Publishing provide the text. It is a lovely wedding sentiment.
The tune is in TIS from where I cribbed the chords for a backing:
This another song that survived in CWB II with a different setting – actually chant, which I blogged here.
In CWB I, Frederick Pratt Green’s text for anointing was set to DISTRESS, from W. Walker’s Southern Harmony. The words are at Hope Publishing although CWB I leaves out verse three.
I derived the chords from the organ music at Hymnary for my backing, which I prefer to the CWB II because it is metrical.
This is great but I doubt you could sing to it:
This is less flashy and more useful:
Quartet:
This is the chant setting, JESU DULCIS MEMORIA from CWB II from Liturgy Share, who shows it’s not that hard:
I have already looked at this text when covering OCP’s Guitar Accompaniment Book, but in CWB it is set to DAY OF PRAISE instead of the commoner setting of ST THOMAS, and the text has been altered by the editors – really just modernised but not condensed and rearranged like at OCP. The words are by, or attributed, to James Montgomery and are based on Psalm 102 (103).
DAY OF PRAISE is by Charles Steggall. I got chords from TIS for my backing. I think this tune does a very good job of saving the text from the risk of bland versifying.
This is the CWB text:
1 O bless the Lord, my soul, his saving grace proclaim,
And all that is within me join to bless his holy name.
2 O bless the Lord, my soul, his mercies bear in mind,
Forget not all his benefits: the Lord to me is kind.
3 He will not always chide; He will with patience wait;
His wrath is ever slow to rise, and ready to abate.
4 He pardons all my sins, prolongs my feeble breath,
He heals all my infirmities, and ransoms me from death.
5 He clothes me his love, upholds me with his truth,
And like an eagle he renews the vigour of my youth.
6 Then bless his holy name whose grace has made me whole,
Whose loving kindness crowns my days, O bless the Lord , my soul.
I had high hopes this might be a replacement for “How Great Thou Art”, to which I have an illogical aversion – it screams kitsch to me but is much loved by many.
This text is by Michael Saward, based on Luke 1:46-55. Saward had an interesting life with many trials. The words are set to JERUSALEM by Charles Hubert Hastings Parry – goodness CWB did not use a songwriter’s full name this time.
… and what a fine tune it is, except that the range is severe and it has become associated with jingoistic Englishmen. Consider it a stirring choir piece.
A lot of Saward’s songs are at Jubilate, but not this one. CWB says the copyright is to Michael Parry, which may be a mistake because it has the first name of the lyricist and the last name of the composer. It is more likely Michael Perry the editor of the book Carols for Today, in which this song appears. I can find no other trace of it, apart from CWB.
I made a backing based on the chords in TIS.
1 Now sing my soul, “How great the Lord!” Rejoice my spirit, in your God.
My Saviour who has looked on me, a humble servant in his sight.
Forever after, I’ll be known as happiest of the human race;
The mighty one has dealt with me and holy, holy is his name.
2 Throughout all ages, those who fear his majesty shall know his grace;
His powerful works disclose his might, he routs the the arrogant of heart.
From thrones great rulers have been torn yet humble men are raised on high;
the hungry have been satisfied while rich men lack and creep away.
3 To Israel, servant of the Lord, comes yet again the promised hope:
In Abraham and all his sons, God’s mercy ever shall endure.
Give glory then to God above, give praise to Christ, his only Son;
Give thanks for all the Spirit’s power, both now and through eternity!
This clip on Facebook credits the tunesmith but not the wordsmith:
Fred Kaan‘s recessional text (actually Frederick Herman Kaan, thank you CWB) did survive into CWB II, but CWB used the commonly associated backing NIAGARA, which was replaced in CWB II with WINCHESTER NEW.
Hymnary lists 157 texts set to WINCHESTER NEW, none of which is this one, so now maybe CWB II’s editors are being creative – I know, Kaan was active in England and therefore should not exist in Hymnary’s orbit and although they do list many of his songs, they don’t have this one. Still, my brilliant theory that CWB’s odd choices were being smoothed out in CWB II has been shown to be untrue. New theory: maybe all editors of hymnals are organists who use the tunes they like and are familar with.
NIAGARA was written by Robert Jackson, who must not have had a middle name or they would have put it in. The version below is in Ab but CWB brought it down to G, thanks be to God.
The text is at Hope Publishing, where they suggest six settings none of which are either of these.
I cribbed the chords from the organ music at Hymnary for a backing:
Of course, now I can find a clip of the WINCHESTER NEW version from a CWB II parish in Brisbane – well done Good Samaritans.
This is a C17 hymn from Germany, and I have to tread carefully because the Lutheran hymns in CWB have been tricking me up.
This one has a text by Johann Heerman, that CWB says was translated by Robert Bridges and adapted by Anthony G. Petti. I have seen considerable variation in the words of this one. Unusually, Hymnary has a lengthy exposition of this lyric.
It is set to HERZLEIBSTER JESU by Johann Cruger adapted by Johann Sebastian Bach. The melody in CWB has an F# that doesn’t seem to fit and is not in the version in Hymnary that I used as a basis for may backing. I have since discovered that the F# is in some versions and may not be a mistake, just tunesmiths being German and ornery.
This is the text in Hymnary.
1 Ah, holy Jesus, how hast thou offended,
that we to judge thee have in hate pretended?
By foes derided, by thine own rejected,
O most afflicted!2 Who was the guilty? Who brought this upon thee?
Alas, my treason, Jesus, hath undone thee!
‘Twas I, Lord Jesus, I it was denied thee;
I crucified thee.3 Lo, the Good Shepherd for the sheep is offered;
the slave hath sinned, and the Son hath suffered.
For our atonement, while we nothing heeded,
God interceded.4 For me, kind Jesus, was thy incarnation,
thy mortal sorrow, and thy life’s oblation;
thy death of anguish and thy bitter passion,
for my salvation.5 Therefore, kind Jesus, since I cannot pay thee,
I do adore thee, and will ever pray thee,
think on thy pity and thy love unswerving,
not my deserving.
This is the CWB Text:
1 My loving Saviour, how have you offended,
that such a hate in man on you descended?
Both mocked and scorned, you suffered rejection
In deep affliction.2 It was my guilt brought all these things upon you.
Through all my sins was this injustice done you.
Lord Jesus, it was I that did deny you
And crucify you.3 So now the Shepherd for the sheep is offered,
Mankind is guilty, but the Son has suffered.
For man’s atonement, which man never heeded,
God interceded.4 For us, dear Jesus, was your incarnation,
Your bitter death and shameful crucifixion
Your burial and your glorious resurrection:
for our salvation.5 Although good Jesus, we cannot repay you,
We shall adore you and shall ever praise you,
For all your kindness and your love unswerving,
not our deserving.
This clip suggests completely different translators for the CWB text.
This clip suggests those listed in CWB actually did the other translation:
So now I don’t which tune is right and who got the attributions for translators of the different versions right.
This is the Grail text for Psalm 32 (33) as set by Margaret Daly, which found its way into CWB in Australia. It’s great that CWB was looking to England for material, but it does make it harder to track down many details. This was yet another that was in Amen! Alelluia!, so I suspect the editors of CWB had a copy.
I have seen it recommended for weddings, which seems apt.
The text is at Music for Mass, but obviously with Kate Keefe’s worthy setting rather than this one.
Once again failing to find sheet music better than my melody line, I was making up chords for my backing.
This is a Suzanne Toolan song, that while a GIA copyright, is not available at their site. She based the words on Ephesians 2:21 and 3:17.
It is in CWB and Alleluia! Amen! at least if you are looking second hand material.
Confusingly it looks like she also wrote a song called “May Christ Live in Your Heart“, which is not the same thing.
It looks like I made up chords as I couldn’t find the sheet music anywhere.
CWB I did not choose the common version of this text by F.W. Wetherall, but chose a different text by Mary Trainor RSM with the same first two lines and the same setting LIEBSTER IMMANUEL. No wonder I get confused.
This is the Wetherall text. I prefer Trainor’s, despite her making “depth” a verb.
It looks like I used organ music to work out the chords for my backing:
1 Mary immaculate, star of the morning
Chosen before creation began,
Chosen to bear for salvation’s new dawning
Jesus, the Lord and Redeemer of man.
2 By your assent in deep, prayerful reflection,
Flesh-life received the great power of the Word;
You gave to life a new hope and direction,
Promised fulfilment for man who had erred.
3 Freed by the Spirit, we face the same mission,
Bearing Christ’s love to the world of our time.
May we, through you, find fresh courage and vision,
Depthing the human, by God’s power divine.
I can’t find this version on You-Tube, so instrumentals will have to do:
I drove down for this today but issues with parking meant I left at the sign of peace and watched the rest when I got home. There was a lot of two hour parking for some distance around the cathedral and I noticed the parking inspector doing the rounds so I hope no-one got a parking ticket.
I wanted to hear the new Archbishop and his homily was hopeful. It was nice to be in a full singing church, even if my seat was behind a very large pillar.
I enjoyed the music and I note Chris Wroblewski got a thankyou in the program so well done, Chris. I can’t just call him Chris W because Christopher Willcock was there as well.
I see Maeve Haeney was with the choir and Paul Taylor was meant to be there but was unwell.
The mass setting was Taylor’s, Mass of St Francis, which is well known and was well sung by the assembly.
The other music was:
Prelude/Motet Sicut Cervus (Palestrina)
Entrance:
Laudate Dominum (TAIZE)
Laudate Dominum (Walker)
Psalm 89 (Willcock)
I didn’t know the Alleluia, but not many in the assembly knew it either – the program had the melody which helped and was very pastoral.
Gifts: A Upper Room
Communion:
Gift of Finest Wheat
Ego Sum Panis Vivas (Esquivel)
Let All Mortal Flesh Keep Silence
Recessional: Praise God from Whom All Blessings Flow.
