Though the historical background for the hymn tune “Beethoven” seems nebulous, it has been effectively paired with many hymn texts. Here, the composer’s Prelude is based on the thought-provoking text by Frances Ridley Havergal (1836-1879), “Lord, speak to me that I may speak.”

Prelude on “Beethoven” includes settings of two verses. The first instance utilizes the first verse of Havergal’s text in a sensitive, somewhat pastoral fashion, which is introduced by the composer’s original melodic material. The second setting, based on verse seven, reflects the climactic nature of the text.

Verse 1
Lord, speak to me, that I may speak in living echoes of Thy tone.
As Thou hast sought, so let me seek Thy erring children lost and lone.

Verse 7
O use me, Lord, use even me, Just as Thou wilt and when and where,
Until Thy blessed face I see, Thy Rest, Thy joy, Thy glory share.

When Jesus visited Mary and Martha in Bethany, he brought assurance both of communion with him and of his resurrection. It is quite fitting, therefore, that Lowell Mason should name his hymn tune “Bethany” to remind us of that assurance through the hymn’s well-loved text, “Though it be a cross that raiseth me, still all my song shall be, nearer, my God, to thee!”

This march, from George Frideric Handel’s opera Scipione was composed in 1725 and received its first public performance a year later in England. The march appears in the last section of the opera’s overture and again at the start of the action. This is lively music from the late Baroque period and has often been rescored for solo instruments as well as large ensembles.

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.

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.

The hymn tune “St. Anne” was composed in 1708 by William Croft, the organist at St. Anne’s Church, Soho, London. The words, “O God Our Help in Ages Past” were written by Isaac Watts, also in 1708, as a paraphrase of Psalm 90. For a hymn, the tune is remarkably strong and resolute and has often been used by other composers, notably J. S. Bach and Handel, as the basis for different compositions.

This particular “fanfare overture” setting of the tune is somewhat in keeping with the contrapuntal uses that were in fashion when the tune was originally composed. Instead of standard percussion, for example, timpani alone are used, a reference in style to the celebratory percussion and trumpet combinations of the 18th century.

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.