Church Music

This is Psalm 99 (100) by Joseph Gelineau.

The verses are free chant so I only will do backings for the two antiphons.

Arise, come to your God, sing him your songs of rejoicing.

Alelluia x3

The full text is in the samples at Hymnary.

I suppose if they were to be used these days you would need the revised Grail texts which can purchased at GIA.

STOP PRESS

Thank God for Chris Wroblewski who runs the LiturgyShare site, where I have been spending a lot of time lately. He has sent some commentary on this one and Gelineau psalms in general. He notes that this is a necessarily brief and incomplete exposition:

I don’t believe “free chant” is a good description for a Gelineau psalm, as they have a fixed (so-called “sprung”) rhythm. You could make a backing with the verses because each measure has a fixed length as shown in the score: it’s the cantor’s job to fit the words into each pulse, which makes them very difficult for those of us who don’t have good timing skills, but much easier for the accompanist as they can just play normally. The notes in parentheses at the start of each phrase are always played, but the downbeat notes are for the singers, who have to work out where to start so that the finish of that measure allows them to smoothly transition into the next measure. In some later Gelineau psalms you will see brackets in some cantors lines: they indicate measures not to be played in that particular verse.

I have a copy of the GIA book you reference at the end of your post. The revised text does not give any consideration to Gelineau, whereas the original translation was written with Gelineau at the forefront. This results in it not fitting the Gelineau tones as well and seriously damages his most famous setting – Psalm 23 (22) (The Lord is my Shepherd / My Shepherd Is the Lord, #248 in NLPHB). There is no reasons the original Grail versions can’t be used as, say, a Communion hymn with those in the procession still able to sing the refrain, but the current Australian rubrics do allow previously approved psalm texts to still be used for the responsorial psalm.

He also sent some music files for learning purposes:

Antiphon

Arise, come to your God, sing him your songs of rejoicing.

1 Cry out with joy to the Lord, all the earth.
Serve the Lord with gladness.
Come before him, singing for joy.

2 Know that he the Lord, is God.
He made us, we belong to him,
We are his people, the sheep of his flock.

3 Go within his gates giving thanks.
Enter his courts with songs of praise.
Give thanks to him and bless his name.

4 Indeed, how good is the Lord,
Eternal his merciful love;
He is faithful from age to age.

5 Give glory to the Father Almighty,
To the Son, Jesus Christ, the Lord,
To the Spirit who dwells in hearts.

On a different note looking at our collective futures, this isn’t a Gelineau psalm, it is a Suno Psalm 100. It is AI and technically soulless soul music:

This is a hymn for Christ the King set to DIADEMATA by George Job Elvey with a text by Matthew Bridges, except for verse four by Godfrey Thring.

The New Living Parish Hymnal gives you the six verses below, but I’ve seen at least nine and frequent variations of the text. They don’t use the stanza with the memorable designation of God as the “Potentate of time” but you can’t have everything. It is a stirring hymn nonethless, that I had a go at already here.

My backing this time is just fake BIAB organ:

1 Crown him with many crowns, the Lamb upon his throne;
Hark! how the heav’nly anthem drowns all music but its own:
Awake, my soul, and sing of him who died for thee,
And hail him as Thy matchless King through all eternity.

2 Crown him, the Virgin’s Son, the God incarnate born,
Whose arm those crimson trophies won which now His brow adorn;
Fruit of the mystic rose, as of that rose the stem;
The root whence mercy ever flows, the babe of Bethlehem.

3 Crown Him the Lord of love: behold His hands and side,
Rich wounds, yet visible above in beauty glorified:
No angel in the sky can fully bear that sight,
But downward bends his burning eye at mysteries so bright.

4 Crown him, the Lord of life, who triumphed o’er the grave,
And rose victorious o’er the strife for those He came to save:
His glories now we sing, who died, and rose on high;
Who died, eternal life to bring, and lives, that death may die.

5 Crown him, the Lord of peace, whose power a sceptre sways
From pole to pole, that wars may cease, and all be prayer and praise:
His reign shall know no end, and round His piercèd feet
Fair flowers of paradise extend their fragrance ever sweet.

6 Crown him, the Lord of heaven, one with the Father known,
And the blest Spirit through him given from yonder triune throne:
All hail, Redeemer, hail, for thou hast died for me;
Thy praise shall never,never fail throughout eternity.

John de Luca has provided his arrangement of the plainsong version of this C7 Latin Advent hymn in the New Living Parish Hymn Book.

I made a backing but don’t blame him:

The Latin text:

Creator alme siderum,
aeterna lux credentium
Jesu Redemptor omnium,
intende votis supplicum.

Qui daemonis ne fraudibus
periret orbit, impetu
amoris actus, languidi
mundi medela factus es.

Commune qui mundi nefas
ut expiares; ad crucem
e Virginis sacrario
intacta prodis victima.

Cujus potestas gloriae,
nomenque cum primum sonat
et coelites et inferi
tremente curvantur genu.

Te deprecamur ultimae
magnum diei Judicem,
armis supemae gratia;
defende nos ab hostibus.

Virtus, honor, laus, gloria
Deo Patri cum Filio,
sancto simul Paraclito,
in saeculorum saecula.

His English text – loosely based on James Mason Neale’s translation but with much “alt” going on:

Creator of the stars of night
Your people’s everlasting light,
Jesus, Redeemer, save us all
And hear your servants when they call.

Now grieving that the ancient curse
Should doom to death a universe,
You heal all those who need your grace,
And come to save our fallen race.

You came when old world drew t’wards night,
Appearing not in princely might;
But, born of Mary mother mild,
Became the victim undefiled.

At your great name, majestic now,
All knees must bend, all hearts must bow;
And things in heav’n and earth adore,
And own you King for evermore.

Great judge of all in that last day,
Be present then with us we pray;
Your scattered people, Lord, unite,
In vict’ry over Satan’s might..

To God the Father, God the Son,
And God the Spirit, Three in One,
Praise, honor, might, and glory be
from age to age eternally.

O covered this in the new (!) music for 2020 at OCP.

This is John Mason Neale’s translation of a C8 text by St John Damascene based on Exodus 15. The tune is GAUDEAMUS PARITER, also known here as AVE VIRGO VIRGINIUM, a C16 tune by Jan Roh. It is rather grand, but “unmoistened foot” is a hilarious turn of phrase.

The lyrics below vary from some other versions I’ve seen. Most archaisms are intact but “hath” hath become “has”. I tarted up the organ backing:

1 Come, ye faithful, raise the strain
Of triumphant gladness;
God has brought his Israel
Into joy from sadness;
Loosed from Pharaoh’s bitter yoke
Jacob’s sons and daughters;
Led them with unmoistened foot
Through the Red Sea waters.

2 ‘Tis the Spring of souls today;
Christ has burst his prison,
and from three days’ sleep in death
As a sun hath risen;
All the winter of our sins,
Long and dark, is flying
From his light, to whom we give
laud and praise undying.

3 This the best of seasons, bright
With the day of splendor,
With the royal feast of feasts,
Comes its joy to render;
Comes to glad Jerusalem,
Who with true affection
Welcomes in unwearied strains
Jesus’ resurrection.

4 Neither might the gates of death,
Nor the tomb’s dark portal,
Nor the watchers, nor the seal
Hold thee as a mortal;
But today amidst the twelve
Thou didst stand, bestowing
That true peace, which evermore
Passeth human knowing.

5 “Alleluia!” now we cry
To our King immortal,
Who, triumphant, burst the bars
Of the tomb’s dark portal;
“Alleluia!” with the Son,
God the Father praising;
“Alleluia!” yet again
To the Spirit raising.

You know you wanted it in ukelele tab:

This isn’t in the New Living Parish Hymn Book, but Gio mentioned it in a comment and I thought I should follow up on it.

This hymn by Jeanette Palmiter is from the 1800s and fades out of hymnals by the 1930s. There are several versions and settings but I used one I found at Hymnary with three verses.

It’s not as bad a song as I feared and I made a backing:

1 O God, my heart doth long for Thee,
Let me die, let me die;
Now set my soul at liberty,
Let me die, let me die;
To all the trifling things of earth,
They’re now to me of little worth,
My Saviour calls, I must go forth,
Let me die, let me die.

2 The slaying power in me display,
Let me die, let me die;
I must be dead from day to day,
Let me die, let me die;
Unto the world and its applause,
To all the customs, fashions, laws,
Of those who hate the humbling cross,
Let me die, let me die.

3 My friends may say, “I’ll ruined be,”
Let me die, let me die;
But all I leave and follow Thee,
Let me die, let me die;
Their arguments will never weigh,
Nor stand the trying judgment day,
Help me to cast them all away,
Let me die, let me die.

Hymntime has six verses if you need that many!

I have covered this Eucharistic hymn already with a modernised text as provided in CWB II. To make those changes rhyme, quite a lot of other changes needed to made and there are other alternative lines in CWB II that vary a lot from this version.

The New Living Parish Hymnal has the more archiac words and John de Luca’s arrangement of MISNEACH.

It was in Percy Jones’s Pius X hymnal as well:

Let’s see what changed:

His arrangement didn’t help me much as I think this backing is worse than my last effort:

1. “Come to me, all ye who labour, come, and I will give you rest”:

Such, dear Lord, thine invitation to each soul to be your guest;

and we answer with deep longing, while our sinfulness we see,

Jesus, Lord, I am not worthy, yet in mercy come to me.

2. Here, upon this altar lowly is the food you make your home,

While we hail thee Lord and Master, reigning from thy heavenly throne;

Life without thee would be lonely, so our hearts still cry to thee:

Jesus, Lord, I am not worthy, yet in mercy come to me.

3. All is joy when thou art near us; earth can never bliss impart

Like the peace and heavenly sweetness of thy visit to each heart;

All unfelt are grief and sorrow, as with trust we cry to thee,

“Jesus, Lord, I am not worthy, yet in mercy come to me.”

I am enjoying doing the hymns from the New Living Parish Hymn Book. I’m finding hymns that are new to me, arrangements by John de Luca that improve on the original versions and it also gives me a chance to do better with organ backings on songs that I have looked at before.

This is in CWB II as “Come, O Long Expected Jesus”, but the archaic text is what Charles Wesley wrote, so that’s fair enough. It is set to STUTTGART, probably written by, and certainly collected by, Christian F. Witt.

I’ve found numerous extra verses but these are the four in this hymnal.

A renovated backing using BIAB organ:

1 Come, thou long expected Jesus,
Born to set thy people free,
From our fears and sins release us,
Let us find our rest in Thee.

2 Israel’s strength and consolation,
Hope of all the earth thou art;
Dear Desire of ev’ry nation,
Joy of every longing heart.

3 Born thy people to deliver,
Born a child, and yet a King,
Born to reign in us for ever,
Now Thy gracious kingdom bring.

4 By Thine own eternal Spirit
Rule in all our hearts alone;
By thine all-sufficient merit
Raise us to Thy glorious throne.

This is a different setting (HYFRYDOL) but it is rather nice:

For the thrill seekers amongst us, the New Living Parish Hymn Book included Benjamin Britten’s arrangement of this cheery number. Does this really get played at funerals? It would need a very high level of expertise to pull it off.

The German text is here translated by Peter Pears and the original tune, KOMM, SUSSER TOD, was by Johann Sebastian Bach. Britten’s arrangement is in Five Spiritual Songs, which still can be purchased at Faber Music. I found another arrangement here.

I figured out some chords and made a backing, but Britten and Bach by BIAB is very concerning:

1 Come, soothing death, come sweet repose!

Come, bear my soul to heaven,

From mortal weariness shriven.

Ah come, I wait for thee,

Come to deliver me,

Ah, let my eyelids close,

Come, sweet repose.

2 Come, soothing death, come sweet repose!

Saviour, I long to see thee

And with the Angels greet thee.

Now fades the day’s pale light;

World, take my last “good night”.

My weary eyelids close,

Come, sweet repose.

It sounds even more melancholic in German:

This is a different arrangement in English:

Sad cellos:

Incredibly slow organ:

The Eastman Wind Ensemble:

There are many arrangements and translations to pick from.

As conducted by Eric Whitacre, so you know what to expect:

On the subject of Whitacre:

I would be as likely to use “Come, Soothing Death” in a liturgy as play Whitacre’s “When David Heard”. However, if your choir can manage this level of choral despair go for it.

I covered this McAuley/Connolly Advent classic from its appearance in CWB II, but their work is always worth promoting. Note McAuley’s straight forward concise text.

The sheet music is available at Willow.

I’m leaning rather heavily on Chris’s LiturgyShare site for many of these songs as he is great on traditional hymnody and has very helpful simple recordings for learning songs. I also think his plain style of singing matches McAuley’s text rather well and he is better to learn from than a lot of more performative vocalists.

I did a string version last time, so I switched to BIAB organ for this backing.

Antiphon

Come O Jesus, Come O Lord
Fulfiller of the Father’s word.

1 When Adam fell God gave His word
He would not leave man in defeat,
And far ahead He then prepared
The day when heav’n and earth should meet.

Antiphon

2 Christ came to keep His Father’s word,
He raised man up from dark defeat;
Through Christ the Father has prepared
A day when all shall be complete.

Antiphon

3 In Advent we commemorate
That first great coming of the Lord
And, looking forward, celebrate
The day when all shall be restored.

Antiphon

This is also based on Veni Creator Spiritus but with far different lyrics, though still for Pentecost. It is here set to TALLIS’ ORDINAL. Godsongs has some background.

It is in CWB II so I blogged it there. The backing is new with different organ sounds.

Come, Holy Ghost, Creator, come
From thy bright heav’nly throne,
Come, take possession of our souls,
And make them all thy own.

Thou who art called the Paraclete,
Best gift of God above,
The living spring, the living fire,
Sweet unction and true love.

Thou who art sevenfold in thy grace,
Finger of God’s right hand;
His promise, teaching little ones
To speak and understand.

O guide our minds with thy blessed light,
With love our hearts inflame;
And with thy strength, which ne’er decays,
Confirm our mortal frame.

Far from us drive our deadly foe;
True peace unto us bring;
And through all perils lead us safe
Beneath thy sacred wing.

Through thee may we the Father know,
Through thee th’ eternal Son,
And thee the Spirit of them both,
Thrice blessed Three in One.

All glory to the Father be,
With his coequal Son:
The same to thee, great Paraclete,
While endless ages run.