GCPO hymn setting for today, the great German tune, LASST UNS ERFREUEN
(For those not familiar with German, the tune's name is pronounced LAHST oonz air-FROY-en.)
The great German tune, LASST UNS ERFREUEN, appeared in a 1623 volume published in Cologne, and has proven to be one of hymnody's most popular and enduring tunes. The text of that original edition bore an Easter theme, Lasst uns erfreuen herzlich sehr, hence the tune's name. The tune is a carol that combines verses in the widely used rhythm known as Long Meter with refrains comprised of five Alleluias. In many early versions, an Alleluia follows each phrase; today, in the English-speaking world, we hear it in a form published in 1658, with the verses arranged in blocks of two phrases followed by two Alleluias. In both cases, there is a concluding, grand fifth Alleluia.
Here in the US, the most common texts associated with this tune are 'All creatures of our God and king,' and 'Ye watchers and ye holy ones.' (Horatio Parker's splendid 'Light's glittering morn bedecks the sky' is often heard at Easter.) As today is the Feast of St. Francis (Oct. 4, transferred) and 'All creatures of our God and king' is based on his Song of Brother Sun, I offer you my current version of what i hope to be an even more complete setting of this tune.
What's new in this arrangement - created this week for audition here in The Listening Room:
an introduction featuring a duet for antiphonal solo organ voices and a fanfare for a reed stop (where available, I envision this -and the duet - would feature rear-of-the-nave trompettes en chamade!)
a movement for SATB choir a cappella
a brief interlude (or intro) which follows the a cappella movement
The concluding descant I wrote in 1996, but brought it into GCPO for the purposes of this audition. It is my most widely-downloaded score.
The organ part is 100% GCPO. As the tune is made up of phrases that can be distinctively heard as 'building blocks', I've modeled manual and piston changes accordingly - switching between reeds and flues in chorus, or adding and subtracting individual reed and flue stops when the organ is playing tutti; sometimes the changes are only in the manuals, sometimes in the pedal. In the pedal, you should be able to hear when the 16' bourdon is on (open flue) which adds presence and thunder, and the 32'+16' reeds which adds both growl and bite to the bass.
Speaking of bass: I model my music in flat response headphones with realistic (and powerful) pedal voicing - something an organist will tell you is the most important part. You may need to EQ your rig accordingly, forego the Dr. 's, and dial down your subwoofer (or be sure it is securely attached to the floor).
Last edited by passagio; 10-07-2012 at 07:42 AM.
Reason: my command of English? nicht so gut.