Here is a “libretto” for Great Protestant Hymns, one of Virgil Fox's most popular albums. You can now listen to the album itself on You-Tube.)
The annotations attempt to point out instances of some of his practices in hymn-playing, as explained in Virgil Fox: The Masterclasses, recorded in 1969 at VF's home in Englewood, NJ.
The major discussions of hymn playing in the Master Classes occur towards the end of (web) Tape 4, and both sides of Tape 5, plus tapes 10 and 11. If you have the data CD, see tracks 2, 27, 28, 29, 45, 48, and 51. The data CD was produced by Winston Willis; it sounds much better and is much easier to work with. The Masterclass itself gives you wonderful insights into Virgil Fox, and indeed into a whole generation of organists and organ-playing.
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Here are two samples from the 1969 Master Class (with thanks to Winston Willis). One, Christ The Lord
Is Risen Today, demonstrates how David McKay Williams used the crescendo pedal. The other, Holy, Holy, Holy, demonstrates how to
determine the correct tempo. (Neither of these two hymns was included in Great Protestant Hymns, by the way.)
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| 1. Wesley: Aurelia | The Church’s one foundation Is Jesus Christ her Lord; | ... principals and mixtures ... |
| She is his new creation By water and the word; | ||
| From heav’n he came and sought her To be his holy bride; | ... tune in the right hand in octaves? ... VI the most intense region ... | |
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With his own blood he bought her, And for her life he died. | |
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Elect from ev’ry nation, Yet one o’er all the earth, |
... reeds and mixtures, box closed ... overlapping start ... | |
| Her charter of salvation, One Lord, one faith, one birth, | ... growing ... | |
| One holy Name she blesses, Partakes one holy food, | ... entry of the pedal ... VI ... | |
| And to one hope she presses, With ev’ry grace endued. | ... cutting back a bit ... | |
| Modulation | ... a whiff of A Mighty Fortress? ... or the Dresden Amen? ... acoustic release ... | |
| Yet she on earth hath union With God, the Three in One, | ... “American ensemble,” AKA the “lush sound,” mezzo forte ... | |
| And mystic sweet communion With those whose rest is won. | ... grow and relax ... | |
| O happy ones and holy! Lord, give us grace that we | ... organ “descant” here and there ... VI ... | |
| Like them, the meek and lowly, On high may dwell with thee. | ||
| Amen. | ... Amen as postlude: crescendo esp. in higher register, with acoustic release | |
| 2. Hemy: St. Catherine | Faith of our fathers! living still | ... principals w/ 12th and 15th ... |
| In spite of dungeon, fire and sword: | ... “a light 16' ”? ... | |
| O how our hearts beat high with joy, | ||
| Whene’er we hear that glorious word: | ||
| Faith of our fathers, holy faith! | ... entry of the pedal? ... refrain gets the dynamic climax ... | |
| We will be true to thee till death. | ... extra treble ... keyed? ... | |
| Faith of our fathers! faith and prayer | ... “American ensemble,” piano ... | |
| Shall win all nations unto Thee; | ... poco crescendo ... | |
| And through the truth that comes from God, | ... subito piu piano ... | |
| Mankind shall then indeed be free. | ... crescendo (register) over into the refrain ... | |
| Faith of our fathers, holy faith! | ... extra treble ... keyed? ... | |
| We will be true to thee till death. | ||
| Faith of our fathers, we will love | ... “American ensemble,” mezzo forte ... high register ... | |
| Both friend and foe in all our strife, | ... descant material in organ ... | |
| And preach thee, too, as love knows how, | ... show ’em where the beat is ... | |
| By kindly words and virtuous life. | ... descant material in organ ... | |
| Faith of our fathers, holy faith! | ... dynamic climax, extra treble ... | |
| We will be true to thee till death. | ||
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... originally an English Catholic hymn. See the Wikipedia article on this hymn... |
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| 3. Atkinson: Morecambe | Spirit of God, descend upon my heart | ... melody in tenor register ... like a meditation ... |
| wean it from earth, through all its pulses move; | ... quieting down on last note of second line ... | |
| stoop to my weakness, mighty as thou art, | ... third line expanding to ... | |
| and make me love thee as I ought to love. | ... climactic highest note at beginning of fourth line ... | |
| Hast Thou not bid me love Thee, God and King? | ... “American ensemble,” ... mezzo forte ... | |
| All, all Thine own, soul, heart and strength and mind. | ||
| I see Thy cross; there teach my heart to cling; | ... crescendo in treble register ... (keyed?) ... climax ... | |
| O let me seek Thee, and O let me find! | ||
| Teach me to love thee as thine angels love, | ... meditation ... chimes (Grail Castle?) don’t have the melody ... | |
| one holy passion filling all my frame; | ... flutes celestes etc. ... | |
| the baptism of the heaven-descended Dove, | ||
| my heart an altar, and thy love the flame. | ... subito pianissimo ... bells continue after the hymn ends ... | |
| 4. Holden: Coronation | All hail the power of Jesus’ Name! | ... introduction ... full swell (fiery reeds and mixtures), box closed ... |
| ... the horn fifths are ‘composed in’ ... growing towards the end ... | ||
| ... entry of the pedal ... pedal more ‘fluey’ ... even more growth ... | ||
| All hail the power of Jesus’ Name! Let angels prostrate fall; | ... bright ... easy to sing to ... | |
| Bring forth the royal diadem, and crown Him Lord of all! | ... a light 16' ... two articulations in parallel ... | |
| Bring forth the royal diadem, and crown Him Lord of all! | ||
| Ye chosen seed of Israel’s race, ye ransomed from the Fall, | ... return of the reeds ... altered pedal line, similar harmony ... | |
| hail Him who saves you by His grace, and crown Him Lord of all. | ... trumpet descant ... the tune quite disappears ... choir will carry it ... | |
| hail Him who saves you by His grace, and crown Him Lord of all. | ||
| Let every kindred, every tribe on this terrestrial ball, | ||
| to Him all majesty ascribe, and crown Him Lord of all. | ... descant on the Triforium ‘honks’ ... | |
| to Him all majesty ascribe, and crown Him Lord of all. | ... acoustic release ... | |
| 5. C. F. Witt: Stuttgart | Come, thou long-expected Jesus, born to set thy people free; | ... Principals ... plain ... a good chance to study the articulation ... |
| from our fears and sins release us; let us find our rest in thee. | ||
| Born thy people to deliver, born a child and yet a king, | ... “American ensemble,” piano ... | |
| Born to reign in us forever, now thy gracious kingdom bring. | ... subito più piano ... a little bit of Virgil ... | |
| By thine own eternal Spirit rule in all our hearts alone; | ... principals and mixtures ... | |
| by thine all-sufficient merit raise us to thy glorious throne. | ||
| 6. Trad. arr. Willis: Crusader’s Hymn | Fairest Lord Jesus, Ruler of all nature, | ... “American ensemble” ... melody in tenor or alto ... |
| O Thou of God and man the Son, | ... decrescendo toward end of line ... | |
| Thee will I cherish, Thee will I honor, | ... growth resumes ... but declines again ... | |
| Thou, my soul’s glory, joy and crown. | ||
| Fair are the meadows, fairer still the woodlands, | ... louder ... more strings ... | |
| Robed in the blooming garb of spring; | ... expansion in treble register ... (keyed?) ... | |
| Jesus is fairer, Jesus is purer, | ... growing steadily ... | |
| Who makes the woeful heart to sing. | ... whiffs of reeds and mixtures ... | |
| Fair is the sunshine, fairer still the moonlight, | ... begins two beats early ... louder still ... tune back in the alto ... | |
| And all the twinkling starry host; | ... more whiffs ... | |
| Jesus shines brighter, Jesus shines purer | ||
| Than all the angels heaven can boast. | ... still more whiffs ... | |
| ... ecstatic postlude ... encore of last line, with reeds added ... even in the pedal ... | ||
| 7. Croft: St. Anne | O God, our help in ages past |
... like an introduction ... not too fast ... reeds and mixtures, box closed ... lots of partial lifts ... |
| our hope for years to come, | ... growing on the final chord ... partial lift going over to third line ... | |
| our shelter from the stormy blast, | ... and partial lift going over to fourth line ... | |
| and our eternal home: | ... still more growth ... | |
| Before the hills in order stood, | ... a little lift before ‘order’ ... grow ... | |
| or earth received her frame, | ... growing at end of second line ... | |
| from everlasting thou art God, | ... step up for third line ... keyed? ... | |
| to endless years the same. | ... partial lift going over into fourth line ... | |
| A thousand ages in Thy sight | ... honk ... | |
| are like an evening gone; | ||
| Short as the watch that ends the night | ... step up for third line ... honk in harmony ... | |
| Before the rising sun. | ... partial lift in honk part ... | |
| O God, our help in ages past, | ... reharmonize! ... dissonant attack ... 32' ... pedal ascends stepwise in quarters ... | |
| our hope for years to come, | ... pedal descends stepwise in eighths ... | |
| be thou our guide while troubles last, | ... still more for third line ... keyed? ... WAIT 3 BEATS! ... | |
| and our eternal home! | ... pedal descends chromatically stepwise to tonic ... extra notes and acoustic release ... | |
| 8. Hastings: Toplady | Rock of ages, cleft for me, | ... English Horn (?) ... a meditation ... |
| Let me hide myself in Thee! | ... taper that phrase! ... | |
| Let the Water and the Blood, | ... quieter ... then grow ... | |
| From thy riven Side which flow’d, | ... grow ... then taper that phrase! ... | |
| Be of Sin the double Cure, | ... a dynamic as well as melodic return ... | |
| Cleanse me from its Guilt and Pow’r. | ||
| Nothing in my hand I bring; | ... flutes ... | |
| Simply to thy Cross I cling; | ||
| Naked, come to thee for Dress; | ||
| Helpless, look to thee for grace; | ||
| Foul I to the fountain fly: | ||
| Wash me, SAVIOR, or I die! | ||
| Whilst I draw this fleeting breath, | ... “American ensemble” ... | |
| When my eye-strings break in death, | ||
| When I soar through tracts unknown, | ||
| See thee on thy Judgment-Throne, | ||
| ROCK of ages, cleft for me, | ... this time we grow a bit ... | |
| Let me hide myself in THEE! | ||
| 9. Prichard: Hyfrydol | Love divine, all loves excelling, | ... principals and mixtures ... (swell + choir?) ... not too fast! ... |
| Joy of heaven to earth come down; | ||
| Fix in us thy humble dwelling; | ||
| All thy faithful mercies crown! | ||
| Jesus, Thou art all compassion, | ... grow ... | |
| Pure, unbounded love Thou art; | ||
| Visit us with Thy salvation; | ... pedal point ... | |
| Enter every trembling heart. | ||
| Come, Almighty to deliver, | ... trumpet solo ... (tuba?) ... | |
| Let us all Thy life receive; | ||
| Suddenly return and never, | ... big principals + mixtures replace trumpet ... | |
| Never more Thy temples leave. | ||
| Thee we would be always blessing, | ... return of the trumpet ... | |
| Serve Thee as Thy hosts above, | ||
| Pray and praise Thee without ceasing, | ||
| Glory in Thy perfect love. | ... Grow! ... | |
| Finish, then, Thy new creation; | ... Reharmonize! ... reeds and mixtures, boxes closed ... | |
| Pure and spotless let us be. | ||
| Let us see Thy great salvation | ... grow ... | |
| Perfectly restored in Thee; | ... grow some more ... | |
| Changed from glory into glory, | ... Grow big! ... | |
| Till in heaven we take our place, | ||
| Till we cast our crowns before Thee, | ... slam-bang with the honks ... :-) ... | |
| Lost in wonder, love, and praise. | ... 32' reed in pedal ... acoustic release ... | |
| 10. Gould: Pilot | Jesus, Savior, pilot me | ... mp “American ensemble” ... a meditation ... |
| Over life’s tempestuous sea; | ||
| Unknown waves before me roll, | ... quiet down ... | |
| Hiding rock and treacherous shoal. | ||
| Chart and compass come from Thee; | ... recover a bit ... | |
| Jesus, Savior, pilot me. | ... dynamic echo of line 1 ... fade! ... | |
| As a mother stills her child, | ... tenor part on solo French Horn (?) ... tune w/ oboe (?) ... | |
| Thou canst hush the ocean wild; | ||
| Boisterous waves obey Thy will, | ... shh ... | |
| When Thou say’st to them, “Be still!” | ||
| Wondrous Sovereign of the sea, | ||
| Jesus, Savior, pilot me. | ... shh! ... | |
| When at last I near the shore, | ... quieter still ... flute ... | |
| And the fearful breakers roar | ||
| ’Twixt me and the peaceful rest, | ... flutes w/ 4' or 2' (?) ... | |
| Then, while leaning on Thy breast, | ||
| May I hear Thee say to me, | ... back to regular register ... | |
| “Fear not, I will pilot thee.” | ... accompaniment fades, leaving the flute ... | |
| 11. Dykes: Melita | Eternal Father, strong to save, | ...“American ensemble” I ... ordinary register ... weak diapasons and celestes (?) ... |
| Whose arm doth bind the restless wave, | ||
| Who bidd’st the mighty ocean deep, | ... a bit brighter ... | |
| Its own appointed limits keep; | ||
| O hear us when we cry to Thee | ... a bit stronger ... | |
| For those in peril on the sea. | ||
| O Savior, whose almighty word | ... “American ensemble” II ... a tower of slender, shimmering strings ... manualiter | |
| The winds and waves submissive heard, | ||
| Who walked’st on the foaming deep, | ... reentry of the pedal ... | |
| And calm amidst its rage didst sleep; | ||
| O hear us when we cry to Thee | ... a bit weaker here ... | |
| For those in peril on the sea. | ... and a bit stronger here ... acoustic release ... | |
| 12. Croft: Hanover [sic] | O worship the King all glorious above, | ... principals and mixtures, boxes closed a bit ... a light 16' ... |
| Kraus: Lyons | O gratefully sing his power and his love: | ... articulate the melody, keep the harmony legato ... grow! ... |
| our shield and defender, the Ancient of Days, | ... grow! ... | |
| pavilioned in splendor and girded with praise. | ... taper at end ... | |
| Your bountiful care, what tongue can recite? | ... “American ensemble” ... manualiter ... | |
| It breathes in the air, it shines in the light; | ||
| it streams from the hills, it descends to the plain, | ... pedaliter ... descant in the organ ... | |
| and sweetly distills in the dew and the rain. | ... taper at end ... | |
| O measureless Might, unchangeable Love, | ... reeds and mixtures ... manualiter? ... | |
| whom angels delight to worship above! | ||
| Your ransomed creation, with glory ablaze, | ... pedal here? ... with a touch of honk ... descant in the organ ... | |
| in true adoration shall sing to your praise! | ... fancy pedal work ... don’t taper this V-I! | |
| 13. Messiter: Marion | Rejoice ye pure in heart; | ... reeds and mixtures, boxes closed a bit ... manualiter? ... |
| Rejoice, give thanks, and sing; | ||
| Your glorious banner wave on high, | ... grow! ... | |
| The cross of Christ your King. | ... grow some more ... | |
| Rejoice, rejoice, |
... add principals or pedal (?) ... double articulation (legato in one octave, detached in the other) ... |
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| rejoice, Give thanks, and sing. | ||
| Bright youth and snow crowned age, | ... solo trumpet ... in octaves ... | |
| Strong men and maidens meek, | ||
| Raise high your free, exultant song, | ||
| God’s wondrous praises speak. | ||
| Rejoice, rejoice, | ... double articulation (legato in one octave, detached in the other) ... | |
| rejoice, Give thanks, and sing. | ||
| With all the angel choirs, | ... “American ensemble” ... | |
| With all the saints of earth, | ||
| Pour out the strains of joy and bliss, | ||
| True rapture, noblest mirth. | ||
| Rejoice, rejoice, | ... double articulation (legato in one octave, detached in the other) ... | |
| rejoice, Give thanks, and sing. | ||
| Then on, ye pure in heart! | ... begin in unison ... reeds and mixtures ... 32' ... | |
| Rejoice, give thanks, and sing! | ... some fancy pedal work ... but no reharmonization ... | |
| Your glorious banner wave on high, | ||
| The cross of Christ your King. | ||
| Rejoice, rejoice, | ... a touch of honk ... double articulation (legato in one octave, detached in the other) ... | |
| rejoice, Give thanks, and sing. | ||
| 14. Mason: Hamburg | When I survey the wondrous cross | ... foundations with a light 16' ... surprisingly straightforward ... |
| On which the Prince of glory died, | ||
| My richest gain I count but loss, | ||
| And pour contempt on all my pride! | ... getting a little bit stronger ... | |
| Were the whole realm of nature mine, | ... add mixtures ... but no reeds ... | |
| That were a present far too small; | ||
| Love so amazing, so divine, | ... getting stronger still ... | |
| Demands my soul, my life, my all. | ... acoustic release ... | |
| 15. Mason: Olivet | My faith looks up to thee, | ... “American ensemble” ... melody also in tenor register ... |
| Thou Lamb of Calvary, | ||
| Savior divine! | ... arpeggiated ascent to fourth line (return of tonic) ... | |
| Now hear me while I pray, | ... shimmering strings in upper register ... (keyed) ... | |
| Take all my guilt away, | ||
| O let me from this day | ... VI as climax ... | |
| Be wholly thine! | ... quiet down ... | |
| May thy rich grace impart | ... foundations without tremulant ... plain ... | |
| Strength to my fainting heart, | ||
| My zeal inspire! | ... arpeggiated ascent ... | |
| As thou hast died for me, | ... shimmering treble ... but with little if any celeste ... | |
| O may my love to thee | ||
| Pure, warm and changeless be,— | ... VI ... | |
| A living fire! | ||
| When ends life’s transient dream, | ... return to “American ensemble” ... manualiter ... p ... | |
| When death’s cold, sullen stream | ||
| Shall o’er me roll, | ... pedal enters for transition to fourth line ... | |
| Blest Savior, then, in love, | ||
| Fear and distrust remove! | ||
| O bear me safe above,— | ... VI ... | |
| A ransomed soul! | ||
| Amen. | ... swell and decline ... | |
| 16. Haydn: Austria | Glorious things of thee are spoken, | ... principals and mixtures ... with a light 16' ... |
| Zion, city of our God! | ||
| He, whose word cannot be broken, | ... phrase the melody ... but harmony proceeds legato ... | |
| Form’d thee for His own abode: | ||
| On the Rock of Ages founded, | ... adding a solo trumpet ... tenor register prominent... | |
| What can shake thy sure repose? | ||
| With salvation’s walls surrounded, | ||
| Thou may‘st smile at all thy foes. | ||
| See! the streams of living waters, | ... suddenly ... down a major third ... foundations ... with a touch of celeste? ... | |
| Springing from eternal love, | ||
| Well supply thy sons and daughters, | ||
| And all fear of want remove. | ||
| Who can faint when such a river | ... getting a bit stronger ... | |
| Ever flows their thirst to assuage? | ||
| Grace, which, like the Lord, the giver, | ||
| Never fails from age to age. | ||
| Round each habitation hov’ring, | ... back home ... reeds and mixtures ... with a trumpet in the lead ... 8' and 16' ... | |
| See the cloud and fire appear! | ... harmonization slightly ... slightly ... reworked ... | |
| For a glory and a cov’ring, | ||
| Showing that the Lord is near; | ||
| Thus deriving, from their banner, | ... pedal point ... | |
| Light by night, and shade by day: | ... altered pedal part ... but same harmony ... | |
| Safe they feed upon the manna | ||
| Which He gives them when they pray. | ... slightly altered harmony ... acoustic release ... | |
| 17. Monk: Eventide | Abide with me; fast falls the eventide; | ... a meditation ... 4' component ... Is there a Vox in there somewhere? ... |
| The darkness deepens; Lord with me abide. | ... pedal is just prominent enough to perform its structuring function ... | |
| When other helpers fail and comforts flee, | ... line 3 goes gently over into line 4 ... | |
| Help of the helpless, O abide with me. | ... climax at “helpless, O” ... I–VI ... | |
| Swift to its close ebbs out life’s little day; | ... strings in the tenor register ... with a quiet 4' component ... Vox? ... the classic “lush” ... | |
| Earth’s joys grow dim; its glories pass away; | ... grow ... fade ... | |
| Change and decay in all around I see; | ... grow some more ... | |
| O Thou who changest not, abide with me. | ... suddenly a tad quieter ... “changest not” ... | |
| I need Thy presence every passing hour. | ... chimes ... here, with the tune ... lighter ... | |
| What but Thy grace can foil the tempter’s power? | ||
| Who, like Thyself, my guide and stay can be? | ... 3 over into 4 ... | |
| Through cloud and sunshine, Lord, abide with me. | ... “sunshine, Lord” ... | |
| Hold Thou Thy cross before my closing eyes; | ... ppp ... rich again ... but not dark ... with 4' ... | |
| Shine through the gloom and point me to the skies. | ||
| Heaven’s morning breaks, and earth’s vain shadows flee; | ... solo flute ... 3 over into 4 ... | |
| In life, in death, O Lord, abide with me. | ... “death, O Lord” ... | |
| 18. Luther: Ein Feste Burg | A mighty fortress is our God, | ... bright and strong ... manualiter ... not too fast ... |
| a bulwark never failing; | ||
| Our helper he, amid the flood | ||
| of mortal ills prevailing: | ||
| For still our ancient foe | ... pedaliter ... | |
| doth seek to work us woe; | ||
| His craft and power are great, | ... growing ... | |
| and, armed with cruel hate, | ... shh! ... manualiter ... | |
| On earth is not his equal. | ... resume ... | |
| Did we in our own strength confide, | ... up a half step ... odd ... “American ensemble,” mp ... | |
| our striving would be losing; | ... cf division technique ... rhythmic variation, not a reharmonization ... | |
| Were not the right Man on our side, | ||
| the Man of God’s own choosing: | ||
| Dost ask who that may be? | ||
| Christ Jesus, it is He; | ||
| Lord Sabaoth, His Name, | ||
| from age to age the same, | ||
| And He must win the battle. | ||
| And though this world, with devils filled, | ... up another half step ... odder still ... “American ensemble,” mf ... | |
| should threaten to undo us, | ... keyed descant ... when the tune goes down, go up ... | |
| We will not fear, for God hath willed | ... melody in the left hand ... | |
| his truth to triumph through us: | ||
| the Prince of Darkness grim, | ... a touch of unison ... | |
| we tremble not for him; | ... VI–IV–I ... nice touch ... | |
| His rage we can endure, | ||
| for lo, his doom is sure, | ||
| one little word shall fell him. | ... acoustic release ... | |
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... [That word above all earthly powers, no thanks to them, abideth; the spirit and the gifts are ours through Him who with us sideth. Let goods and kindred go, this mortal life also; the body they may kill: God’s truth abideth still, His kingdom is forever.] ... |
... fourth stanza seemingly omitted; in favor of Duke Street? ... | |
| 19. Hatton: Duke Street | Jesus shall reign where’re the sun | ... principals and mixtures ... not too fast ... |
| Does his successive journeys run; | ||
| His kingdom stretch from shore to shore, | ... the melody makes the phrasing ... the harmony is sustained ... | |
| Till moons shall wax and wane no more. | ||
| Where He displays His healing power, | ... strings ... melody in the tenor ... | |
| Death and the curse are known no more: | ... fade ... | |
| In Him the tribes of Adam boast | ... recover a bit ... | |
| More blessings than their father lost. | ||
| Let every creature rise and bring | ... a bit of unison ... reeds and 32' ... | |
| Peculiar honors to our King; | ||
| Angels descend with songs again, | ||
| And earth repeat the loud amen! | ... a touch of honk ... acoustic release at the end ... | |
| 20. Hopkins: Ellers | Savior, again to Thy dear Name we raise | ... “American ensemble,” mf ... |
| With one accord our parting hymn of praise; | ... growing ... | |
| We stand to bless Thee ere our worship cease; | ... quiet down ... | |
| Then, lowly kneeling, wait Thy word of peace. | ... quiet down some more... | |
| Grant us Thy peace upon our homeward way; | ... “American ensemble,” p ... | |
| With Thee began, with Thee shall end the day. | ||
| Guard thou the lips from sin, the hearts from shame, | ... fade for sin and shame ... | |
| That in this house have called upon Thy Name. | ... fade some more ... | |
| Modulation | ... modulate up a whole step ... swell, then a big fade ... | |
| Thy peace in life, the balm of every pain; | ... solo flute enters to begin the final stanza ... | |
| Thy peace in death, the hope to rise again; | ||
| Then, when Thy voice shall bid our conflict cease, | ||
| Call us, O Lord, to Thine eternal peace. | ... acoustic release ... | |
| 21. Warren: National Hymn | God of our fathers, whose almighty hand | ... like an introduction ... |
| Leads forth in beauty all the starry band | ||
| Of shining worlds in splendor through the skies, | ... bigger, more flues ... | |
| Our grateful songs before Thy throne arise. | ||
| Thy love divine hath led us in the past, | ||
| In this free land by Thee our lot is cast, | ||
| Be Thou our Ruler, Guardian, Guide and Stay, | ||
| Thy Word our law, Thy paths our chosen way. | ||
| From war’s alarms, from deadly pestilence, | ... up a half step ... | |
| Be Thy strong arms our ever sure defense; | ||
| Thy true religion in our hearts increase, | ||
| Thy bounteous goodness nourish us in peace. | ||
| Refresh Thy people on their toilsome way, | ... up another half, rework both hymn and trumpets ... a bit ... | |
| Lead us from night to never ending day; | ||
| Fill all our lives with love and grace divine, | ... start your decrescendo here ... | |
| And glory, laud, and praise be ever Thine. | ||
| Amen. |
... recollecting the harmony ... and the trumpets ... concluding with that greatest of Romantic inventions, the diminuendo to pianissimo ... |
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| ... Virgil Fox ... rhythm and accent ... after that, clear articulation of the shape... using the resources of the electro-pneumatic organ ... | ||
| ... in particular, one must be careful that the emotional temperature always be exactly correct ... in its nuances as well as its general character ... | ||
| ... Registrations and strategies for hymn-playing ... | ||
| ... “Go where the music is!” ... Lohengrin, Prelude to Act I (a continuous color crescendo, starting from the strings) ... Prelude to Act III (the big tune in the bass) ... | ||
| ... Tristan, Prelude to Act III (penetrating strings) ... Parsifal, Good Friday Spell (free-form development) ... | ||
| ... a bit of verismo ... Callas and Catalani ... | ||
| ... Rosa Ponselle ... | ||
| ... cited by Virgil as the best place to learn what good music-making is: George Thalben Ball and the Temple Church Choir ... | ||
| ... and the inimitable: Dame Myra Hess ... | ||
| Commentary and choice of stanzas by Tom Baker | ||
| This page is the result of a fascination and a hobby. It produced and produces no income for anyone. I am very grateful to Winston Willis for his permission to include two brief excerpts from the Masterclass. | ||
| Tom Baker's Homepage | ||