Music for November 22, 2015 + Christ the King Sunday + The Last Sunday after Pentecost

Vocal Music

• Sing We Merrily Unto God Our Strength – Sidney Campbell (1909-1974)
• O Bone Jesu – attr. Giovanni Pierluigi da Palestrina (16th C.)/probably by Marc'Antonio Ingegneri (1547-1592)

Instrumental Music

• Come, Ye Thankful People, Come – Ron Boud/Don Hustad (20th C.)
• Prelude on Picardy – Sondra Tucker (21st C.)
• Suite Gothique: IV. Tocatta – Léon Boëllmann (19th C.)

Congregational Music (all hymns from the Hymnal 1982 with the exception of those marked “R” which are from Renew.)

• Hymn 494    Crown him with many crowns (Diademata)
• Hymn 488    Be thou my vision (Slane)
• Hymn 544    Jesus shall reign where’er the sun (Duke Street)
• Hymn 324    Let all mortal flesh keep silence (Picardy)
• Hymn 598    Lord Christ, when first thou cam’st to earth (Mit Freuden zart)

Today we have two widely different anthems for the last Sunday of the Christian year, Christ the King Sunday, officially known as the last Sunday after Pentecost. The offertory anthem is a mid-century piece by the British composer Sidney Campbell. Campbell was organist and master of the choristers at Canterbury Cathedral when he wrote this piece in 1960 just before going to St George's Chapel, Windsor Castle, where he remained until his death. This anthem features an independent organ accompaniment with much syncopation and a driving rhythm which supports the rather athletic choral part. Several words are set to long melismas (several notes to one syllable), such as God, noise, and merrily.

The second anthem is an Italian renaissance motet O Bone Jesus. This hauntingly simple setting  has often been attributed to Palestrina but is now generally recognized to have been the work of Marc'Antonio Ingegneri, an Italian composer of the late Renaissance. He was close friends with Pope Gregory XIV, who was intimately involved with the reforms of the Counter-Reformation and the Council of Trent, and this influence is present in his music, which usually shows the simplification and clarity of the Palestrina style. His masses are simple, short, and relatively homophonic, often outdoing Palestrina for clarity and simplicity.

The opening voluntary is out of the ordinary for us Anglicans. One of our church members, Jill Kirkonis, retired this past year as organist from First Baptist Church of Porter after a long association with the church. She's since played for us here at Good Shepherd, and she brought an arrangement of the hymn Come, Ye Thankful People, Come to my attention. It was arranged for organ and piano by Don Hustad and Ron Boud. Don Hustad was the long-time organist for the Billy Graham Evangelistic Team, and Ron joined him at the piano in later years. In the small-world category, Ron Boud ended his full-time career as organ professor at Union University in Jackson, Tennessee, the Baptist School in the same town as Lambuth College, where I got my undergraduate degree. His last church job before retirement was at First Presbyterian Church in Jackson, where I had my first church job after leaving SMU.

To further the small world/West Tennessee connection, the Communion Voluntary is a setting of the familiar hymn, Let All Mortal Flesh Keep Silence for organ and handbells by my friend Sondra Tucker, who now serves as organist at Holy Apostles Episcopal Church in Collierville, TN. Holy Apostles is the church I served before moving to Kingwood.

Music for November 15, 2015 + The Twenty-fifth Sunday after Pentecost + The Kirking of the Tartans

Vocal Music

• Arise, My Soul, Arise – Dale Wood (1934-2003)
• Day by Day – Martin How (b. 1931)

Instrumental Music

• Highland Cathedral – James D. Wetherald, arr., Stanley Fontinot, piper
• The Saints Delight – Dale Wood

Congregational Music (all hymns from the Hymnal 1982 with the exception of those marked “R” which are from Renew.)

• Hymn 51 - We the Lord’s people, heart and voice uniting (Decatur Place)
• Hymn 282 - Christ, the fair glory of the holy angels (Caelites plaudant)
• Hymn 665 - All my hope on God is founded (Michael)
• Hymn 571 - All who love and serve your city (Charleston)
• Hymn 671 - Amazing grace! how sweet the sound (New Britain)
• Hymn R247 - Lord, the light of your love is shining (Shine Jesus Shine)

This Sunday is our annual "Kirking of the Tartans" service at Good Shepherd, a Sunday where we honor our Scottish heritage. (If you really get into history, you can read more about our annual tradition, as well as the beginnings of "Kirking" here.) As usual, we will have a piper here to play Highland Cathedral and Amazing Grace on the bagpipe.

Highland Cathedral is a popular melody for the great highland bagpipe, so it might surprise you that the melody was composed by German musicians Ulrich Roever and Michael Korb in 1982 for a Highland games held in Germany! It has become so popular in such a relatively short time that it has been proposed as the Scottish national anthem to replace unofficial anthems Scotland the Brave and/or Flower of Scotland.

The offertory anthem is by the renowned composer, organist, and choral director Dale Wood, who was best known for his church music compositions.  Wood's career as a composer was launched at the age of 13 when he became the winner of a national hymn-writing competition for the American Lutheran Church. His first choral anthem was accepted for publication one year later.

Dale Wood at his home, October 2002.
Photo courtesy Ivan de la Garza.

Wood has served as organist and choirmaster for Lutheran and Episcopal churches in Hollywood, Riverside, and San Francisco, California. Hymns and canticles composed by Dale Wood are found in every major hymnal except ours!

Wood's musical activities have not been limited to sacred music. While still a college student, he entertained as organist at the Orpheum Theater in Los Angeles and appeared on television shows produced in Hollywood. In 1975, he was employed by the Royal Viking Line to entertain passengers on a 70-day cruise of the South Pacific and Orient.

Wood used the Finnish folk tune NYT YLÖS, SIELUNI as the basis for the anthem "Arise, My Soul, Arise," with text by Swedish writer Johan Kahl. The anthem was written in 1976 based on a Finnish folk tune. The sturdy tune is first sung in unison before being sung in canon on the second stanza. Wood's creative compositional style is evident in the accompaniment of this verse, which at first seems unrelated to the melodic material the choir sings, but up closer examination you realize that it is actually the original tune, but in augmentation, a compositional device where a melody is presented in longer note-values than were previously used. During the third line of that stanza, the whole choir sings the tune in augmentation, without accompaniment. The third stanza returns to the original rhythm and feel with an abrupt but strong ending.

The Good Shepherd Choir is joined by the St. Gregory Choir at the communion anthem, Day by Day, using a prayer ascribed to the 13th-century English bishop Saint Richard of Chichester as its text. The music was composed by Martin How, a British composer and organist. (He is the son of the late Most Revd J C H How, Primus of the Scottish Episcopal Church - another Scottish connection!)

Martin How

Born in Liverpool, where his father was Rector of St Nicholas Church. The family then moved to Brighton, where Martin's father was Vicar at St Peters Parish Church. The family then moved to Glasgow just before the second world war, and Martin spend most of his childhood there.

Trained in music at Repton School and Clare College, Cambridge, he was in the Army for two years before taking a post as Organist and Choirmaster at Grimsby Parish Church in Lincolnshire. But it was at the Royal School of Church Music where How spent most of his career, principally as a choir trainer specializing in the training and motivation of young singers. In this capacity he initiated and developed the RSCM Chorister Training Scheme which has since been used in various forms in many parts of the world. 

Has traveled widely as a choral conductor, accompanist, lecturer and adjudicator. In this capacity he has worked in the USA, Canada, South Africa, Australia, New Zealand, Denmark, Belgium and the Netherlands.

Appointed MBE for 'Services to Church Music' in the 1993 New Year Honors List.

Music for November 8, 2015 + The Twenty-fourth Sunday after Pentecost

Vocal Music

• Lord, Make Us Servants (hymn 593)– Lee Hastings Bristol (1923-1979)

Instrumental Music

• Processional Celebration – Anna Laura Page (b. 1943)
• What a Friend We Have in Jesus – Linda R. Lamb (b. 1947?)
• Festival Piece – Craig Phillips (b. 1961)

Congregational Music (all hymns from the Hymnal 1982 with the exception of those marked “R” which are from Renew.)

• Hymn 686 - Come, thou fount of every blessing (Nettleton)
• Hymn 429 - I’ll praise my maker while I’ve breath (Old 113th)
• Hymn 707 - Take my life, and let it be (Hollingside)
• Hymn R172 - In my life, Lord, be glorified (Lord, be glorified)
• Hymn 705 - As those of old their first fruits brought (Forest Green)

This Sunday we feature our Good Shepherd Handbell Choir in two works. The opening voluntary is an original composition by Anna Laura Page. Active as a composer, clinician and organist, she served on the Music Committee of the Southern Baptist 1991 Hymnal Committee and has received the ASCAP Standards Award for the past several years. She has taught organ as an adjunct faculty member at Mercer University in Macon, Georgia, and theory/organ as an adjunct faculty member at Lander University in Greenwood, South Carolina. She served as director of the Austin Peay Community Children's Chorus in Clarksville, Tennessee for three years. She is married to Dr. Oscar C. Page, President of Austin College in Sherman, Texas.

Processional Celebration was written in two parts - the first section is written with 4 lines of music. Each one enters after the preceding line is played once. It was designed to be played in procession from memory - which is why we are playing it

The communion voluntary is a setting of the old hymn "What a Friend We Have in Jesus" by Linda R. Lamb. Lamb has been involved with handbells since 1992, as director, composer, and sometime ringer. She is the handbell director at Lexington Park Baptist Church, Lexington Park, Maryland, where she directs one adult choir and one youth quartet. She graduated from Carson-Newman College in Jefferson City, Tennessee, with a B. A. in sociology, and from Concordia University in Wisconsin with a Master of Church Music (emphasis in handbells).

This arrangement makes use of both our set of English Handbells and our smaller set of choir chimes, which Lamb uses on the second verse to highlight the melody.

The offertory anthem is a hymn setting of a poetic rendering of the famous Prayer of St. Francis by Lee Hasting Bristol. Though Bristol was studied music at Ham­il­ton Col­lege, Clin­ton, New York (BA); Trin­i­ty Col­lege of Mu­sic, Lon­don (or­gan stu­dies); and the In­sti­tute for In­ter­na­tion­al Stu­dies, Ge­ne­va, Switz­er­land (grad­u­ate stu­dies), he worked in New York for the Bris­tol-Me­yers Com­pa­ny (the fam­i­ly bus­i­ness) in ad­ver­tis­ing and pub­lic re­la­tions from 1948-62. From 1962-69, however, he served as pre­si­dent of West­min­ster Choir Col­lege, Prince­ton, New Jer­sey. In 1972, the Hymn So­ci­e­ty in the Unit­ed States and Ca­na­da made him a fel­low of the so­ci­e­ty.

Music for November 1, 2015 + All Saints Sunday

Vocal Music

• And I Saw a New Heaven – Malcolm Archer (b. 1952)
• O Sacred Feast – Healey Willan (1880-1968)

Instrumental Music

• Blessed Are Ye Faithful Souls Departed – Johannes Brahms (1833-1897)
• Requiem Aeternum/In Paradisum – Charles Callahan (b. 1951)
• Hymn Prelude on “Darwall’s 148th” – Percy Whitlock (1903-1946)

Congregational Music (all hymns from the Hymnal 1982 with the exception of those marked “R” which are from Renew.)

• Hymn 287 - For all the saints, who from their labors rest (Sine Nomine)
• Hymn R-276 - Soon and very soon (Soon and Very Soon)
• Hymn 625 - Ye holy angels bright (Darwall’s 148th)
• Hymn 620 - Jerusalem, my happy home (Land of Rest)
• Hymn 618 - Ye watchers and ye holy ones (Lasst uns erfrueun)

This Sunday is All Saints Day, a solemn holy day of the church celebrated annually on November 1. Originally, the Catholic church dedicated this day to the saints of the Church, that is, all those who were beatified by the church, and remembered all other faithful departed on All Souls' Day on November 2. As Anglicans, we view All Saints' Day as incorporating the observance of All Souls' Day and it serves to "remember those who have died", in connection with the theological doctrines of the resurrection of the body and the Communion of Saints. That is why we remember our family and friends who have died as well as all the saints at this service.

Our beautiful All Saints anthem is by the English composer Malcolm Archer, Director of Chapel Music at Winchester College in England, where he trains and conducts the choirs and teaches organ. He has enjoyed a distinguished career in cathedral music, which has taken him to posts at Norwich, Bristol, and Wells Cathedrals, as well as Director of Music at St. Paul’s Cathedral in London.

This anthem begins with the sopranos singing the first verse of Revelation 21, our Epistle reading for today:

And I saw a new heaven and a new earth; for the first heaven and first earth had passed away, and there was no more sea. 

The rest of the choir joins the sopranos as they repeat that lovely, peaceful melody. At the words "And I, John, saw the holy city," the men of the choir take the melody. At the end of the anthem, the words "and the former things are passed away," are repeated section by section, like an echo that fades away.

Malcolm Archer at St. Paul's Cathedral, London

The communion anthem is a motet written by Healey Willan. It is the fourth of six motets he wrote in 1924 for his choir at the Church of St. Mary Magdalen in Toronto. The text is an English translation of the Latin hymn, O Sacrum Convivium. You may wonder what is the difference between an anthem and a motet. A motet a short piece of sacred choral music, typically polyphonic and unaccompanied. An anthem is also a choral composition, often based on a biblical passage, for singing by a choir in a church service. It can be accompanied by organ or piano, and can sometimes be as long as ten minutes, as are the English verse anthems 17th and 18th centuries.

The opening voluntary is one of the The Eleven Chorale Preludes, Op. 122, that Johannes Brahms composed a year before he died. They were published posthumously in 1902.

The eleven pieces are relatively short and are based on selected verses of nine separate Lutheran chorales. They were written in the summer of 1896 after Clara Schumann’s death (some may have been conceived earlier), and it is highly probable that Brahms was already aware of his own illness at that point; several are associated with texts about death and eternity, such as our organ voluntary today. This setting, with its beautiful 12/8 flow and major/minor vacillation, is the shortest.  The prelude is mostly in D minor, but the first line is almost entirely in the “relative” major key of F.  The piece is mostly played on manuals only. The 12/8 meter creates a pastoral mood in the flowing voices under the chorale melody, which is heard in the soprano (top) voice.  Brahms marks it dolce (sweetly).

Blessed are ye, faithful souls departed;
Death awakened you to life immortal.
You are delivered
of all cares that hold the world in bondage.

(English Translation by Michel-Dmitri Calvocoressi)

Music for October 25 + The Twenty-second Sunday after Pentecost

Vocal Music

• O Thou the Central Orb – Charles Wood (1866-1926)
• Nunc Dimittis – A. H. Brewer (1865-1928)

Instrumental Music

• Fanfare-Improvisation on “Azmon” - Alec Wyton (1921-2007)
• Erhalt uns, Herr (Hymn R191) - Johann Pachelbel
• Trumpet Tune in D Major - William Boyce

Congregational Music (all hymns from the Hymnal 1982 with the exception of those marked “R” which are from Renew.)

• Hymn 493           O for a thousand tongues to sing (Azmon)
• Hymn 679           Surely it is God who saves me (Thomas Merton)
• Hymn 460           Alleluia! Sing to Jesus (st. 1, 3 &4) (Hyfrydol)
• Hymn 302           Father, we thank thee who hast planted (Rendez a Dieu)
• Hymn R191        O Christ, the healer (Erhalt uns, Herr)

Charles Wood

The choir is singing two anthems from the repertoire list of this Sunday's Diocese of Texas 56th Annual Adult Choral Festival. O Thou the Central Orb is by Charles Wood, one of the great 19th-century composers of Anglican choral music. His anthems are frequently performed, though he also wrote eight string quartets and an opera based on Dickens's Pickwick Papers. Though he studied at Cambridge and in London, he hailed from Armagh in Northern Ireland, where his father was a tenor in the choir of St Patrick's Cathedral. O Thou the central orb is without a doubt a classic of the English Anthem which defines in many people's minds the Anglican 'cathedral sound'.
This anthem is often sung in Advent, with its line

Come, quickly come, and let thy glory shine, 

as well as the line

Pure beam of the most High, eternal Light
Of this our wintry world, 

But the main theme is that of light, and it works well on any Sunday morning.

The other anthem is the Nunc Dimittis from Herbert Brewer's Evening Canticles in D Major. A contemporary of Charles Wood, Brewer was born one year earlier than Wood and died less than two years later. He was an English composer and organist who lived in Gloucester his whole life, and was the organist at two of its churches; he also founded the city's choral society in 1905. He had been a cathedral chorister in his boyhood, and began his organ studies with the organist of the same cathedral, C. H. Lloyd. As a composer, Brewer was fairly conservative; his output includes church music of all types, cantatas, songs, instrumental works, and orchestral music.

The opening voluntary this Sunday is by another English Cathedral Musician, though this one moved to America. Born in London, Alec Wyton studied at The Royal Academy of Music and Oxford University. He came to the United States in 1950 at the invitation of the Bishop of the Dallas Diocese, who wanted English-style music at his Cathedral. Four years later he was appointed organist and Master of the Choristers at St. John the Divine, New York City, where he combined his musician duties with those of Headmaster of the Cathedral Choir School. He held that position for 20 years.

He was the Coordinator for the Standing Commission on Church Music of the Episcopal Church which produced the hymnal which we now use.

I first heard this composition, Fanfare-Improvisation on “Azmon”, when I was in high school. It is based on that great hymn, "O For a Thousand Tongues to Sing." As it begins, we hear a fanfare, and a brief statement of the closing phrase of the hymn-tune, before an ostinato pedal part begins and a melody which only hints at the well known tune begins. After two repetitions of that improvisatory hymn-like melody, he presents the well-known tune, only it's not in the familiar "short-short Long, Long" pattern of the hymn. Not until the fourth time the tune is played is the familiar hymn heard in its original rhythm. At one point, the melody is also heard in canon, and in canon in two different keys at the same time!.  The final stanza is a direct presentation of the hymn-tune complete with fanfares.

The communion voluntary is a setting of today's closing hymn, with the melody in the pedal, accompanied by the hands on the manuals. It is by the South German composer Johann Pachelbel, who's famous for that Pachelbel Canon that you hear at weddings all the time. 

Music for October 18, 2015 + Choir Dedication Sunday + The Twenty-first Sunday after Pentecost

Vocal Music

• Jubilate Deo – Michael Bedford (b. 1949)
• Oh, Sing to the Lord a New Song – John Leavitt (b. 1956)
• Bless, O Lord, Us Thy Servants – John Harper (b. 1947)

Instrumental Music

• Andantino – Jean Langlais (1907-1991)
• Fugue in C Major, BWV 846 – Johann Sebastian Bach (1685-1750)
• Scherzo – Alan Ridout (1934-1996)

Congregational Music (all hymns from the Hymnal 1982 with the exception of those marked “R” which are from Renew.)

• Hymn 420 - When in our music God is glorified (ENGLEBERG)
• Hymn R 112 - You who dwell in the shelter of the Lord (ON EAGLES WINGS)
• Hymn 495 - Hail, thou once despised Jesus (IN BABILONE)
• Hymn R 289 - Jesu, Jesu, fill us with your love (CHEREPONI)
• Hymn 492 - Sing, ye faithful, sing with gladness (FINNIAN)

Sunday, October 18 has been designated as Music Sunday by RSCM America. RSCM America is the branch of the Royal School of Church Music in the United States, whose goal is to uplift the spiritual life of religious communities through high quality choral music. On this day, we celebrate the music and musicianship that are a vital and beloved part of church life. On this day we will dedicate new choristers into our choir and reaffirm the ministries of those who have already been singing in the choir. Music Sunday is also a time when we offer a special prayer for our music and musicians--the young and old, professional and amateur, singer and instrumentalist, administrator and practitioner--most of whom work without expectation of recognition but who nonetheless deserve our awareness and thanks.

One of the anthems we will sing is a setting of The Chorister's Prayer.

Bless, O Lord, us Thy servants,
who minister in Thy temple.
Grant that what we sing with our lips,
we may believe in our hearts,
and what we believe in our hearts,
we may show forth in our lives.
Through Jesus Christ our Lord.
Amen.

The Chorister's Prayer in its most common form was first published by the School of English Church Music (as the RSCM was then called) in 1934 in the Choristers' Pocket Book. It has origins which extend back at least to the 4th century, for the tenth canon of the fourth council of Carthage (c 398 AD) decrees that cantors should be blessed with the words Vide, ut quod ore cantas, corde credas, et quod corde credis, operibus comprobes (“See that what thou singest with thy lips thou dost believe in thine heart, and that what thou believest in thine heart thou dost show forth in thy works”)

John Harper

This prayer is used each week at the beginning of our Children's Choirs. We who pray these words weekly carry on a tradition of many centuries and hopefully we both ‘steadfastly fulfil’ and also ‘show forth’ the tenets of our faith in our lives and music.

John Harper composed this setting of The Chorister's Prayer for the 80th anniversary of the RSCM. It was sung at St Paul's Cathedral, London on Easter Monday 2007, to mark the beginning of the RSCM's 80th anniversary celebrations. Harper is RSCM Research Professor of Music and Liturgy, and Director of the new International Centre for Sacred Music Studies (ICSMuS) at Bangor University in Wales. He is Emeritus Director of The Royal School of Church Music.

John Leavitt

The other anthem the Good Shepherd sings this day is a contemporary setting of Psalm 96 with a rippling piano accompaniment with violin obbligato. It is by the American composer, choral director and teacher John Leavitt. A native of Kansas, Dr. Leavitt received the Kansas Artist Fellowship Award from the Kansas Arts in 2003 and in 2010 he was the recipient of a grant from the National Endowment for the Arts’ American Masterpieces to commission a new choral work in celebration of the 150th anniversary of the State of Kansas.  His music has been performed in 30 countries across the globe and his recordings have been featured nationally on many public radio stations. His compositions are represented by nearly every major music publisher in this country. In addition to his academic posts, he has served Lutheran churches in the Wichita area.

The St. Gregory Choir will sing an anthem by the Oklahoma composer and church music Michael Bedford. Bedford retired last year from St. John's Episcopal Church in Tulsa after a twenty-five year tenure as director of music and organist. This anthem, Jubilate Deo, is a setting of Psalm 100 in both Latin and in contemporary English.

Music for October 11, 2015 + The Twentieth Sunday after Pentecost

Vocal Music

• Hear the Voice and Prayer – Thomas Tallis (1505-1585)

Instrumental Music

• Partita on “St. Anne” – Paul Manz (1919-2009)
• I. Theme
• II. Adagio
• VI. Fugue/Finale
• Saraband and Interlude – Herbert Sumsion (1899-1995)

Congregational Music (all hymns from the Hymnal 1982 with the exception of those marked “R” which are from Renew.)

• Hymn 680 - O God, our help in ages past (ST. ANNE)
• Hymn R127 - Blest are they, the poor in spirit (BLEST ARE THEY)
• Hymn 707 - Take my life and let it be (HOLLINGSIDE)
• Hymn - I have decided to follow Jesus (I HAVE DECIDED)
• Hymn 408 - Sing praise to God who reigns above (MIT FREUDEN ZART)

The organ voluntaries at the beginning and ending of worship are from a Partita (or Variations) by Paul Manz. During his lifetime, he was one of the premier organists in the Lutheran Church, a denomination with a tradition of fine music and hymnody. Manz was well known for his improvisations on the hymns of the church, publishing volumes of his organ improvisations. As a performer, Manz was famous for his celebrated hymn festivals. Instead of playing traditional organ recitals, Manz would generally lead a "festival" of hymns from the organ, in which he introduced each hymn with one of his famously creative organ improvisations based on the hymn tune in
question. The congregation would then sing the hymn with his accompaniment. Sometimes he would play an improvisation between each sung stanza, as with these well-known variations on the tune, ST. ANNE, sung to the Isaac Watts text "Oh God, Our Help in Ages Past" with which he would traditionally end each festival. It is from this partita that I've selected the opening and closing voluntaries.
At the prelude we hear the tune in it's entirety, presented with no embellishments. It is followed by the first variation, which, like a chorale prelude of Bach or Buxtehude, presents the melody in a highly ornamented fashion, often flirting with the actual notes of the melody to give us an impression of the tune.
The closing voluntary is the finale from the partita, starting with a fugue with its original subject. It is not until we depart from the fugue that we hear the melody in the pedal with the hands playing a flashy accompaniment.

The hymn, O God, our help in ages past, is one of the biggies.  It is a standard that appears in most major hymnals and is often sung at funerals. The words are a paraphrase of Psalm 90:1-5.  (Today's Psalm is also from Psalm 90, but using the last five verses.) They were written by Isaac Watts in 1714, shortly before the death of Queen Anne of England. This was a time of great crises and turmoil, as the successor of Queen Anne was as yet undetermined, and the fear of a monarch who would reinstate the persecution of Protestants was great. King George I prevented such persecution, but the fear before Anne’s death was great. This was the context in which Watts wrote his powerful text, now lauded as “one of the grandest in the whole realm of English Hymnody” (Bailey, The Gospel in Hymns, 54).
The music was composed by William Croft in in 1708 when he was organist at St. Anne’s in Soho. The tune appears in many compositions by other composers, but the fact that the opening phrase sounds like the fugue subject in J. S. Bach’s Fugue in E-flat Major, (“St. Anne” Fugue) is probably a coincidence. I am using Bach's music as in introdution to the hymn, in an arrangement by George Thalben-Ball (which Thalben-Ball transposed to C Major just for this purpose.)