Normally I would not endorse this person's work, but he didn't write the words to this: John Bell ("I-ona Rhyming Dictionary, therefore I am a poet") wrote a pretty cool arrangement with organ and SATB. GIA Item Nr. G-5489. My choir sang it some years ago when we still had the resources to do it.
Sorry, I don't mean to imply anything about Mr. Bell personally - just that his (word-) writing is pretty dodgy. His musical output is variable, and some of it is pretty good. I would include this setting and one of his a capella pieces that begins "I bow my knee in prayer" from a musical standpoint.
They don't have the words with them, unfortunately. The page scans from pre-1979 hymnals are unison with accompaniment. If you give me till midnight I can probably do one for you this evening. That's midnight EST, I mean.
I have no idea as to Bell's text-dodginess, but I will second JDE's endorsement of Bell's setting of this piece. It's a relatively simple, but well done piece.
Just had a request for "Let All Mortal" for a wedding . . . anyone have a favorite SATB a cappella setting out there? JMO's setting in the VII Hymnal if fine, but I'd love to see what else is out there.
We sing an SATB version arranged by Randall DeBruyn, I think. I need to get my music folder to check copyright info, etc., but it's a lovely arrangement.
There is a lovely simple-but-effective and festive setting for choir and organ by Gustav Holst. The first stanza is unison with a pedal point on the organ, the second for men, the third SATB (very easy), and the last with a developed organ part and a descant of 'alleluyas' for the women. It is gorgeous.
Sir Edward Bairstow wrote a beautiful setting, but it doesn't use Picardy. It also breaks into more than 4 parts in spots. Nevertheless, if you've got a choir which can sing it, I highly recommend the piece.
No one seems to have mentioned David Willcocks' PICARDY, found as "Hush my Dear, lie still and slumber" in CCC (One Hundred Carols for Choirs, OUP). 4 verses for SATB, SSAA, TTBB, S.SATB a cappella.
Incidentally, for anyone who might want an alternate setting of 'Let All Mortal Flesh', it can be sung beautifully to the melody of Good Friday's Crux fidelis. I discovered this in Sir Sidney Nicholson's Plainchant Hymn Book some years ago and have used it numerous times. It is a beautiful wedding of text and chant.
Of course, some would (understandably) object to using the beloved Good Friday melody for any other text. This is understandable. Those who will try it, though, are sure to find a new friend. This will not (should not!) replace the iconic Picardy, but may, for some, be a welcome and beautiful variant for their choirs or scholas.
For my hymnbook, I've stitched together a version from a number of disparate sources encountered over the years.
Unaccompanied until the last verse (so make sure to keep the pitch!), which is unison with descant (descant by Christopher Erskine, Canberra, Australia). We sing the first verse v. slowly, and build up from pp to ff at "Christ Our God", etc. (If enough men, just men; & get them to proceed from monkish/whispery at the beginning to full throated at ff.)
Works well: the typical congregation is usually rattled into silence-fittingly-by the drama of v.1. but, being so denied, come in with gusto on the melody of v.2, undeterred by the canon going on.
The part I especially enjoy is the bursting into full a capella harmony at v. 3, as "rank on rank" the four parts line up to do their thing.
There is also an awesome (but not so simple) arrangement of this tune by none other than Craig Courtney, but you need an excellent pianist. And of course that's another problem - the accompaniment is piano rather than organ.
Corinne, "though" suggests that something about what you said makes it unlikely to be beautiful. Is it that the music was written by DeBruyn, that is copyrighted 1990 or that it is published by OCP, or....I guess..... that you mentioned it?
Ha, sorry. It is that it's copyrighted and so I cannot share it. I have, however, seen "part" videos on YouTube, which show the score (that has to be a copyright infringement, right?).
Re: stanza 4, the "seraph" and "Cherubim" are not in apposition. Many hymnals published since 1974 use a comma between the two. The correct punctuation is a semicolon, as is found in all hymnals published before 1974 and still many published since then. See https://hymnary.org/text/let_all_mortal_flesh_keep_silence and scroll down to and check out the various Page Scans.
I have written hymn tunes for this hymn. I have composed and arranged numerous hymns spanning the church's liturgical year and for all age groups. Please see my website for more info at www.NewHeartMusic.net and listen to a partial listing of my hymns at www.hymntime.com or copy and paste the following link to access my page on that website: http://www.hymntime.com/tch/bio/w/e/r/werdebaugh_s.htm
Also, I have choral works posted there as well as organ instrumental music.
Also, all my music is considered public domain and therefore is free to copy and use for worship or devotions with no alterations. All other rights remain reserved.
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