Based on the wonderful old gospel song, “‘Tis so Sweet to Trust in Jesus” by Louisa M.R. Snead (1850-1917) and William James Kirkpatrick (1838-1921), this solo with instrumental ensemble accompaniment features one verse and two choruses from the song.
After a brief introduction based on intervals from the song, the soloist plays an original melody by the composer prior to a light and energetic rendition of the first chorus. The verse appears in a more sustained style by the soloist, accompanied by a smooth, chorale-like background.
The second chorus is played by the soloist while the opening original theme is juxtaposed underneath. The introduction is reintroduced prior to an ascending finale by the soloist.

African American spirituals are a rich part of our nation’s history – offering songs of hope for the oppressed as well as soulful hymns for the Church. “I Want Jesus to Walk With Me” is one such spiritual. While the text references many trials that must be endured, it maintains a sense of hope. It is a prayer to God to be with us throughout all our life, and with Jesus, we will overcome the trials.

The tune follows a similar pattern. Even though the melody is in a minor key, the repetitive form and quick tempo portray an upbeat thought, despite the trials that are being depicted.

Andrew Young (1807-1891) spent his life in Edinburgh, Scotland where he was a school teacher and head master. Many of Mr. Young’s hymns and poems were published in 1876 as The Scottish Highlands and Other Poems, which included “There Is a Happy Land,” which is included in many hymnals to this day. Its theme of eternal life and peace is summed up in the first verse:

There is a happy land, far, far away,
Where saints in Glory stand, bright, bright as day.
O how they sweetly sing: Worthy is our Savior King!
Loud let His praises ring, praise, praise for aye.

The great Charles Wesley hymn Christ the Lord is Risen Today has here been set as a solo for instrument in E-flat or F with ensemble accompaniment by Andrew Wainwright. The hymn is widely considered as the most definitive church anthem for Easter, celebrating the resurrection of Jesus.

The great Charles Wesley hymn Christ the Lord is Risen Today has here been set as a solo for instrument in E-flat or F with ensemble accompaniment by Andrew Wainwright. The hymn is widely considered as the most definitive church anthem for Easter, celebrating the resurrection of Jesus.

Colonel Edward H. Joy (1871-1949) had a long career as a Salvation Army officer who served in several administrative appointments in the United Kingdom, Canada, and South Africa from 1894 to 1938. Throughout his ministry, he wrote the words and music to many well-loved songs, including the melody featured here, “All Your Anxiety.” It is a song of invitation, as stated in the chorus:

All your anxiety, all your care,
Bring to the mercy seat, leave it there,
Never a burden He cannot bear,
Never a friend like Jesus.

For brass quintet and optional piano and substitute brass parts. After a brief introduction the theme is presented in an echoing fashion giving a great deal of texture. A modulation takes place and the texture is more block and majestic with rhythmic movements. More modulation occurs and the meter now changes as well and again the melodic material is passed around the ensemble in an almost free form. The coda quickly shifts back to the original meter and the piece becomes quite rhythmic leading up to a final conclusive figure.

These short variations are a lively upbeat rendition on the tune “Truro.” The tune “Truro” first appeared in Psalmodia Evangelica, a two-volume collection of psalm and hymn tunes published in 1789. The tune is named for the city in Cornwall, England with its striking Anglican cathedral. This arrangement is based on these words:

Lift up your heads, ye mighty gates,

This popular worship song by the group Elevation Worship topped the charts in 2017 and is still widely sung around the world. The song is something of a modern-day paraphrase of the classic gospel song “Softly and Tenderly, Jesus Is Calling,” and this arrangement interweaves fragments of that melody with the melody of the newer song. The bridge of the song leaves for a moment the invitational quality of the text and breaks into a paean of pure praise – “O what a Savior, isn’t He wonderful? Sing alleluia, Christ is risen!” – making the arrangement particularly useful in the Easter season.

In the first chapter of Mark’s Gospel, we read an amazing story of many people who were physically and mentally ill being brought to Jesus to be healed. This drew the attention of the entire village who came out to witness Jesus and left amazed at what they saw. Covid 19 has caused many to be both physically and mentally ill, requiring healing.

This meditation seeks to portray, through music, this coming to Jesus to be healed, using this hymn by Thomas Moore (1779-1852):

This suite of three movements features popular French Christmas songs. “Il Est Né” (“He Is Born”) tells the story of the Heavenly child being born in a stable. “Patapan,” an older carol, published in 1720, speaks of the shepherds bringing their flutes and drums with them to celebrate the birth of the Savior. The final majestic tune, “March of the Three Kings” (or “Farandole” from Bizet’s L’Arlésienne) paints the picture of the Magi completing the manger scene.

The Largo movement from Antonin Dvorak’s Symphony #9 titled “From the New World” has inspired various writers to give Christian words to the theme. The feel of the melody joins well together with the words by William Arms Fisher titled “Going Home.”

A sensitive setting of the chorus by General John Gowans (1934-2012) and General John Larsson (b. 1938), both of whom were one time the world leaders of The Salvation Army. Of the hundreds of lyrics General Gowans penned, this succinct chorus meant the most to him, for it was his personal mission statement:

This beautiful old prayer chorus by Salvation Army officer and musician Edward Joy is well-loved by Salvationists around the world. It is a “holiness” text that speaks of submitting completely to the Lord’s will – “not a fragment, but the whole” – and the simple melody follows well the meaning and emotional content of the words. This arrangement is also purposely simple to present the song in a direct and prayerful way