Dear Friends - one of my choir members passed away suddenly and the funeral is Saturday - since most of the choir will be able to attend the funeral, I'm in need of something simple for satb, asap. Something that can be put together in 10 or 15 minutes. Any ideas!? thanks
A possibility for an easy piece would be for the choir to "dress up" an appropriate hymn. One that could work is "Jerusalem, My Happy Home" (LAND OF REST) as a 2-part canon between men and women.
If your choir hymnal has an SATB version of "The Living God, My Shepherd Is" (BR. JAMES' AIR), that would work as well, perhaps alternating stanzas between unison (men or women) and SATB.
I've always thought that "What Wondrous Love Is This" (WONDROUS LOVE) would be quite fitting for a singer's funeral, since it has so many references to singing. The third stanza seems so appropriate: "And when from death I'm free, I'll sing on." However, I don't think this hymn has a standard SATB arrangement.
Let me piggyback on Fr. Chepponis' suggestion of LAND OF REST by pointing out that Tietze's Introit Hymns has a decent setting of the Requiem aeternam set to that tune.
Some may feel it's not the right tone, but "O Danny Boy" is sometimes used and it is beautiful. I have an online score for SATB a cappella at www.hartenshield.com/0295_danny_boy.pdf and a recording at www.hartenshield.com/0295_danny_boy.mp3 . It is relatively easy to sing.
Please be assured of my prayers for you, your choir member, and your choir.
If your choir already knows it, Mozart's "Ave verum corpus" would be an excellent choice at Communion (or any other setting of that text your choir may know well). I also like Fr. Chepponis' idea of "dressing up" a hymn in a pinch. A couple other ideas I can think of off the top of my head would be Stainer's "God So Loved the World" and Dubois' "Adoramus te Christe" -- again, if your choir is already familiar with either of these.
I wrote a simple LM hymn, inspired by the Requiem Propers (with just a touch of modern sentimentality). I have sung it to Conditor Alme Siderum, of which there is a wonderful SATB arrangement in the 1906 English Hymnal.
Conditor Alme is #1 (p33) in that hymnal. If that's too Advent for you, there a bunch others- the 1906 has a lot of really wonderful SATB Chant Hymn Arrangements)
And of course, there are plenty of non-chant LM Hymns with SATB harmonizations.
Here is my hymn text (swap out the pronouns as needed, and the doxology if you have another one you prefer):
Eternal Rest grant her, we pray and shine the light of endless day. Appoint for her a place with those who in You died, and in You rose.
Lord Jesus Christ, our Glorious King protect her soul from suffering. Deliver her from darkness deep, and give the angels guard to keep.
Receive our prayer and offering, the tears we shed, the songs we sing. Accept our sacrifice today to aide the soul for whom we pray.
With her, and with us, Lord be near. To You we cry, bend down your ear: For in Your mercy there is light, You make the darkness ever bright.
Praise be to God, The Glorious King The Father, whom the angels sing. Praise be to Christ, His only Son. Praise to the Spirit, with Them One.
"Be still my soul" FINLANDIA "Inscription of hope" Z. Randall Stroope "Adoramus te Christe" GPdaPalestrina (or Dubois, easier) "Kyrie eleison" set to Faure's Pavane (forget publisher, sorry) as an "alius cantus"
I am sorry this rather too late for your need, but hope that this suggestion may help someone else in future.
Please let us know what you did sing when you have a spare minute.
Assuming that borrowing something from the Anglicans is acceptable, Purcell's "Thou Knowest Lord" is a simple and extraordinarily moving setting of one of the funeral sentences from the 1662 BCP. It probably comes off best with treble voices trained in the English fashion, but whenever I hear it, it always gives me dreadful goose bumps in places where a goose should never bump.
There are other sentences set as part of the same service. To my mind these settings demonstrate more than anything Purcell's genius - achieving such an impact with such simplicity is more than most musicians could ever dream of.
Tempo is sometimes a bone of contention - there's the "very slightly quicker" school of thought and the "slow it down" school. I incline to the latter, especially in a resonant acoustic; the music seems to broaden out and become far more than human voices.
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