Journey Through The classics
March—Soldiers of Christ
Composer George Marshall
This seems to be a tune created by Geoge Marshall. If there were words associated with it at the time of its composition, they are lost to time. In 2018, Eric Bicknell wrote the following lyrics for the trio section:
In Jesus’ name we go,forth to fight, bravely fight, in His mightWith sword and shield we go,to the front, in His strength, face the foe.We fight at His command,bringing hope, bringing faith, bringing life!We are Soldiers of Christ, brave!And we fight, in His strength, in His name!
Bandmaster George Marshall (1889–1956) is revered as one of the early giants of brass band music, widely celebrated as The Salvation Army's "March King."
Raised in South Shields, England, Marshall was a musical prodigy who mastered the violin by age seven, even performing for The Salvation Army's founder, General William Booth. He eventually became the long-time leader of the South Shields Salvation Army Band.
In 1918, just four months after getting married, Marshall survived a horrific mining accident under the North Sea. The disaster left him with a broken spine and required a double leg amputation. Though confined to a wheelchair for the rest of his life, his spirit and musical creativity remained untouched. Over his lifetime, he published more than 100 brilliant compositions. In 1950, General Albert Orsborn awarded Marshall the Order of the Founder—The Salvation Army’s highest civil honor for exceptional, lifelong service.
Many of his spirited marches and instrumental compositions are considered undisputed brass band classics and are still regularly performed today:
The Liberator – Widely considered one of his most popular and enduring marches.Mighty to Save – Published in 1921, this famous march incorporates the triumphant chorus, "Jesus is mighty to save! From the uttermost, to the uttermost, Mighty to save!"Soldiers of Christ – An intricate, bold, and brilliant march published in 1911 that rapidly elevated his reputation across the UK brass band scene.Spirit of Praise – Another joyful, enduring concert march staple.The Emblematic Flag – Known for its irresistible marching rhythm, light staccato pulse, and bright style.Ransomed – A highly popular euphonium solo piece famously published in 1936.
In Jesus’ name we go,forth to fight, bravely fight, in His mightWith sword and shield we go,to the front, in His strength, face the foe.We fight at His command,bringing hope, bringing faith, bringing life!We are Soldiers of Christ, brave!And we fight, in His strength, in His name!
Bandmaster George Marshall (1889–1956) is revered as one of the early giants of brass band music, widely celebrated as The Salvation Army's "March King."
Raised in South Shields, England, Marshall was a musical prodigy who mastered the violin by age seven, even performing for The Salvation Army's founder, General William Booth. He eventually became the long-time leader of the South Shields Salvation Army Band.
In 1918, just four months after getting married, Marshall survived a horrific mining accident under the North Sea. The disaster left him with a broken spine and required a double leg amputation. Though confined to a wheelchair for the rest of his life, his spirit and musical creativity remained untouched. Over his lifetime, he published more than 100 brilliant compositions. In 1950, General Albert Orsborn awarded Marshall the Order of the Founder—The Salvation Army’s highest civil honor for exceptional, lifelong service.
Many of his spirited marches and instrumental compositions are considered undisputed brass band classics and are still regularly performed today:
The Liberator – Widely considered one of his most popular and enduring marches.Mighty to Save – Published in 1921, this famous march incorporates the triumphant chorus, "Jesus is mighty to save! From the uttermost, to the uttermost, Mighty to save!"Soldiers of Christ – An intricate, bold, and brilliant march published in 1911 that rapidly elevated his reputation across the UK brass band scene.Spirit of Praise – Another joyful, enduring concert march staple.The Emblematic Flag – Known for its irresistible marching rhythm, light staccato pulse, and bright style.Ransomed – A highly popular euphonium solo piece famously published in 1936.
Amazing Grace - Traditional
Arranged by William Himes
"Amazing Grace" is a Christian hymn published in 1779 by the English clergyman John Newton. With a message that forgiveness and redemption are possible regardless of the sins people commit and that the soul can be delivered from despair through the mercy of God, it is among the most sung and recorded hymns in the world and is especially popular in the United States, where it is used for both religious and secular purposes.
Newton wrote the words from personal experience; he grew up without any particular religious conviction, but his life was formed by a variety of twists and coincidences, often put into motion by others' reactions to what they took as his recalcitrant insubordination. He was pressed into service with the Royal Navy, and after leaving the service, he became involved in the Atlantic slave trade. In 1748, a violent storm battered his vessel so severely that he called out to God for mercy. The moment marked his spiritual conversion; Newton began studying Christian theology and later became a British abolitionist.
Ordained in the Church of England in 1764, Newton became curate of Olney, Buckinghamshire, where he began to write hymns with poet William Cowper. "Amazing Grace" was written to illustrate a sermon on New Year's Day of 1773. It is unknown if there was any music accompanying the verses; it may have simply been chanted by the congregation. It debuted in print in 1779 in Newton and Cowper's Olney Hymns, but settled into relative obscurity in England. In the United States however, "Amazing Grace" was used extensively during the Second Great Awakening in the early 19th century. It has been associated with more than 20 melodies, but in 1835 it was joined to a tune named "New Britain" to which it is most frequently sung today.
According to the Dictionary of American Hymnology, "Amazing Grace" is John Newton's spiritual autobiography in verse.
Lyrics:
1 Amazing grace (how sweet the sound)
that saved a wretch like me!
I once was lost, but now am found,
was blind, but now I see.
2 'Twas grace that taught my heart to fear,
and grace my fears relieved;
how precious did that grace appear
the hour I first believed!
3 Through many dangers, toils and snares
I have already come:
'tis grace has brought me safe thus far,
and grace will lead me home.
4 The Lord has promised good to me,
his word my hope secures;
he will my shield and portion be
as long as life endures.
5 Yes, when this flesh and heart shall fail,
and mortal life shall cease:
I shall possess, within the veil,
a life of joy and peace.
6 The earth shall soon dissolve like snow,
the sun forbear to shine;
but God, who called me here below,
will be forever mine.
William Himes (born March 28, 1949) is a renowned American composer, conductor, and euphonium soloist best known for his immense contributions to brass band music and his long-standing leadership within The Salvation Army.
Born and raised in Michigan, Himes attended the University of Michigan School of Music in Ann Arbor. There, he studied composition under esteemed composers Leslie Bassett and George Balch Wilson, earning his Bachelor of Music Education and a master's degree in music performance and composition.
Before taking on prominent leadership roles, Himes spent five years teaching instrumental music in the public school system of Flint, Michigan, and worked as an adjunct lecturer in low brass at the University of Michigan–Flint. In 1977, Himes was appointed the head of the Music and Gospel Arts Department for The Salvation Army’s USA Central Territory in Chicago—becoming the first layman to hold the position. He served in this role for 38 years until his retirement in 2015. Alongside his directorial duties, Himes served as the bandmaster and conductor of the internationally acclaimed Chicago Staff Band. Under his leadership, the ensemble recorded extensively and toured globally, visiting countries such as the United Kingdom, Australia, New Zealand, Japan, and Norway.
Himes is an incredibly prolific composer and arranger, with his works appearing in more than 400 publications worldwide. His music is a staple of brass and concert band repertoires, uniquely bridging the gap between sacred worship music and complex secular concert literature. Some of his most celebrated pieces include:
Jubilance for Cornet and Band
Jericho (and Jericho Revisited)
The Psalmist
Amazing Grace
In recognition of his lifelong dedication to ministry and musical excellence, Himes was awarded the Order of the Founder in 2000, which is the highest honor bestowed by The Salvation Army. He remains an active clinician, guest conductor, and ASCAP member.
Festival Arrangement—Moses, Get Down!
Composer: Barrie Gott
Rock and swing styles are exploited to good effect in this attractive setting of the well known spiritual, "Go down, Moses."
Lyrics for Go Down, Moses
1. When Israel was in Egypt's land,
let my people go;
oppressed so hard they could not stand,
let my people go.
Refrain:
Go down, (go down) Moses, (Moses)
way down in Egypt's land;
tell old Pharaoh
to let my people go!
2. "Thus saith the Lord," bold Moses said,
let my people go;
"if not, I'll smite your first-born dead,"
let my people go.
(Refrain)
3. No more shall they in bondage toil,
let my people go;
let them come out with Egypt's spoil,
let my people go.
(Refrain)
4. We need not always weep and mourn,
let my people go;
and wear those slavery chains forlorn,
let my people go.
(Refrain)
5. Come, Moses, you will not get lost,
let my people go;
stretch out your rod and come across,
let my people go.
(Refrain)
6. As Israel stood by the water's side,
let my people go;
at God's command it did divide,
let my people go.
(Refrain)
7. When they had reached the other shore,
let my people go;
they sang a song of triumph o'er,
let my people go.
(Refrain)
8. O Moses, the cloud shall cleave the way,
let my people go;
a fire by night, a shade by day,
let my people go.
(Refrain)
9. Your foes shall not before you stand,
let my people go;
and you'll possess fair Canaan's land,
let my people go.
(Refrain)
10. This world's a wilderness of woe,
let my people go;
O let us on to Canaan go,
let my people go.
(Refrain)
11. O let us all from bondage flee,
let my people go;
and let us all in Christ be free,
let my people go.
(Refrain)
Barrie Gott has been writing for bands and orchestras for over 50 years. His arrangements and compositions have been played all over the world.
He began writing as a teenager but in 1971 he concentrated on brass band music for The Salvation Army. Since then his religious works have been played by bands in the UK, USA, Europe, Asia, Australia and New Zealand.
Barrie has been a professional trumpet player since starting in the National Training Orchestra, then working as a casual player in all areas of performance.
He has also been an educator, working at all levels - primary, secondary and tertiary. During this time he started writing for concert bands particularly at the early levels -1, 2 and 3. His partnership with Dr Bruce Pearson resulted in the very popular First Performance series published by Neil A. Kjos Music Company.
Mr. Gott was President of the National Band Council of Australia from 2019 to 2021.
He is principal cornet in the Maryborough Brass Band and 1st trumpet in the Fraser Coast's TNT Big Band.
Mr. Gott was the conductor of the Fraser Coast Orchestra's inaugural performance A Night at the Proms in Maryborough Queensland in May 2025.
Soli Deo Gloria
Composer William Himes
Two themes are featured in this setting, as familiar phrases from JS. Bach's chorale prelude, 'Jesu, joy of man's desiring' are joined with Naida Hearn's praise chorus, 'Jesus, name above all names' in a spirit of adoration spanning more than two centuries.
"Jesu, Joy of Man's Desiring" is the popular English title of the chorale from the 1723 Advent cantata Herz und Mund und Tat und Leben (Heart and Mouth and Deed and Life), BWV 147, by Johann Sebastian Bach on the top of Johann Schop's psalm melody. The English title was used in a 1908 publication of "Three Chorales" by the Church Music Society and was further popularized by the piano transcriptions made by Myra Hess, in 1926 for piano solo and in 1934 for piano duet, as published by Oxford University Press.
The following is a version with words attributed to the poet laureate Robert Bridges. It is not a translation of the stanzas used within Bach's original version but is inspired by stanzas of the same hymn that Bach had drawn upon: "Jesu, meiner Seelen Wonne", the lyrics of which were written in 1661 by Martin Janus (or Jahn), and which was sung to Johann Schop's 1642 "Werde munter, mein Gemüte" hymn tune.
Jesu, joy of man's desiring,Holy wisdom, love most bright;Drawn by Thee, our souls aspiringSoar to uncreated light.
Word of God, our flesh that fashioned,With the fire of life impassioned,Striving still to truth unknown,Soaring, dying round Thy throne.
Through the way where hope is guiding,Hark, what peaceful music rings;Where the flock, in Thee confiding,Drink of joy from deathless springs.
Theirs is beauty's fairest pleasure;Theirs is wisdom's holiest treasure.Thou dost ever lead Thine ownIn the love of joys unknown
Soli Deo Gloria (S.D.G.) is a Latin term for Glory to God alone. It has been used by artists like Johann Sebastian Bach, George Frideric Handel, and Christoph Graupner to signify that the work was produced for the sake of praising God. Bach wrote the initials "S. D. G." at the end of all his church compositions and also applied it to some, but not all, his secular works.
Naida Hearn's praise chorus, 'Jesus, name above all names’
Jesus, name above all namesBeautiful Savior, glorious Lord.Emmanuel, God is with us.Blessed Redeemer, Living word.
Naida Anita O’Hara Hearn, New Zealand, 1931-2001. Born in north New Zealand (town not found), she was the daughter of a music conductor and learned to play piano, teaching it through most of her life. She was raised Methodist when young, but in later life attended the New Life Pentecostal Church at Palmerston North, Manawatu-Whanganui, New Zealand. An accomplished pianist, she played piano for the large church and directed a small choir. She married Henry William (Bill) Edward Hearn (1933-1999), and they had two children: Tony and Warick. They lived at Autearoa, Oceania, NZ. The marriage was not a happy one, especially after her husband joined the Jehovah’s Witnesses. She was treated poorly in the marriage. In 1974, while doing laundry, she was contemplating the various names of Jesus, and had listed some of them. Suddenly she just started singing, the words and music coming together. She stopped and wrote the words down, then went to her piano and played the tune, stating the Holy Spirit had given her both. She insisted that the song should be sung slowly, softly, and reverently. that God wanted it that way. Later in life, she managed to leave her husband and live on her own at a retirement community after receiving royalties from her song. She was an important part of that retirement community. She composed several other songs as well.
"Jesu, Joy of Man's Desiring" is the popular English title of the chorale from the 1723 Advent cantata Herz und Mund und Tat und Leben (Heart and Mouth and Deed and Life), BWV 147, by Johann Sebastian Bach on the top of Johann Schop's psalm melody. The English title was used in a 1908 publication of "Three Chorales" by the Church Music Society and was further popularized by the piano transcriptions made by Myra Hess, in 1926 for piano solo and in 1934 for piano duet, as published by Oxford University Press.
The following is a version with words attributed to the poet laureate Robert Bridges. It is not a translation of the stanzas used within Bach's original version but is inspired by stanzas of the same hymn that Bach had drawn upon: "Jesu, meiner Seelen Wonne", the lyrics of which were written in 1661 by Martin Janus (or Jahn), and which was sung to Johann Schop's 1642 "Werde munter, mein Gemüte" hymn tune.
Jesu, joy of man's desiring,Holy wisdom, love most bright;Drawn by Thee, our souls aspiringSoar to uncreated light.
Word of God, our flesh that fashioned,With the fire of life impassioned,Striving still to truth unknown,Soaring, dying round Thy throne.
Through the way where hope is guiding,Hark, what peaceful music rings;Where the flock, in Thee confiding,Drink of joy from deathless springs.
Theirs is beauty's fairest pleasure;Theirs is wisdom's holiest treasure.Thou dost ever lead Thine ownIn the love of joys unknown
Soli Deo Gloria (S.D.G.) is a Latin term for Glory to God alone. It has been used by artists like Johann Sebastian Bach, George Frideric Handel, and Christoph Graupner to signify that the work was produced for the sake of praising God. Bach wrote the initials "S. D. G." at the end of all his church compositions and also applied it to some, but not all, his secular works.
Naida Hearn's praise chorus, 'Jesus, name above all names’
Jesus, name above all namesBeautiful Savior, glorious Lord.Emmanuel, God is with us.Blessed Redeemer, Living word.
Naida Anita O’Hara Hearn, New Zealand, 1931-2001. Born in north New Zealand (town not found), she was the daughter of a music conductor and learned to play piano, teaching it through most of her life. She was raised Methodist when young, but in later life attended the New Life Pentecostal Church at Palmerston North, Manawatu-Whanganui, New Zealand. An accomplished pianist, she played piano for the large church and directed a small choir. She married Henry William (Bill) Edward Hearn (1933-1999), and they had two children: Tony and Warick. They lived at Autearoa, Oceania, NZ. The marriage was not a happy one, especially after her husband joined the Jehovah’s Witnesses. She was treated poorly in the marriage. In 1974, while doing laundry, she was contemplating the various names of Jesus, and had listed some of them. Suddenly she just started singing, the words and music coming together. She stopped and wrote the words down, then went to her piano and played the tune, stating the Holy Spirit had given her both. She insisted that the song should be sung slowly, softly, and reverently. that God wanted it that way. Later in life, she managed to leave her husband and live on her own at a retirement community after receiving royalties from her song. She was an important part of that retirement community. She composed several other songs as well.
Overture—The Magic Flute
Composer Wolfgang Amadeus Mozart, Arranged by Michael Kenyon
The opera, of which this is the overture, was Mozart's last (1791).
The brief Adagio introduction leads into the main part, Allegro, at the seventeenth bar. In his score notes (Penguin scores), Dr. Gordon Jacob quotes the finale of the 'Jupiter' symphony as 'an example of Mozart's skill in applying fugal technique to a movement in sonata form. This overture, though less elaborately worked out provides another example of this procedure'.We are indebted to Deputy-Bandmaster Michael Kenyon, an auxiliary member of the International Music Editorial Department, for this arrangement which will, we are sure, be as eagerly welcomed as the majority of 'classical' arrangements which appear in our journals.
Wolfgang Amadeus Mozart (1756–1791) was an Austrian composer widely regarded as one of the greatest and most prolific figures in the history of Western music. Born on January 27, 1756, in Salzburg, Austria (then part of the Holy Roman Empire) He was taught by his father, Leopold Mozart, a court violinist and composer. He started playing keyboard instruments at age three, composed his first music at age five, and performed before European royal courts as a young child with his sister, Maria Anna ("Nannerl").
Mozart worked as a court musician and concertmaster for the Archbishop of Salzburg, Colloredo, though he grew frustrated with the strict local control. He relocated to Vienna in 1781 as an independent freelance musician. In August, 1782, he married Constanze Weber with whom he had six children, though only two survived infancy. In 1787, he was appointed as an imperial chamber composer by Emperor Joseph II in 1787.
Mozart composed more than 800 works spanning every major genre of his time, including symphonies, string quartets, concertos, and masses. His famous operas include masterworks such as The Marriage of Figaro, Don Giovanni, and The Magic Flute.
Mozart died in Vienna on December 5, 1791, at the age of 35, leaving his Requiem unfinished.
Breezin’ Down Broadway!Arranged by Goff Richards
Breezin’ Down Broadway! is a fast-paced, foot-tapping musical medley that celebrates some of the greatest hits in American theater history. The piece was originally commissioned by the St. Breward Silver Band in Cornwall, England. Renowned composer and arranger Goff Richards dedicated the work in memory of his uncle, Jack Wills, a well-known brass band arranger who had a profound musical influence on Richards' early life.
Richards weaves together six iconic theatrical numbers into a seamless, high-energy showcase. The medley provides an excellent display of classic British brass band texture, blending rhythmic precision with rich, lyrical brass harmonies.
Musical Selections
The medley cycles through six timeless show tunes, effortlessly shifting tempos and styles to keep audiences engaged:
"Another Openin', Another Show" (from Cole Porter’s Kiss Me, Kate) – Sets the stage with an exciting, theatrical introduction."There's No Business Like Show Business" (from Irving Berlin’s Annie Get Your Gun) – A soaring, celebratory anthem of the stage."Get Me to the Church on Time" (from Lerner and Loewe’s My Fair Lady) – Infuses a jaunty, up tempo drive."Oklahoma!" (from Rodgers and Hammerstein’s Oklahoma!) – Delivers sweeping, classic Americana melodies."That's Entertainment" (from Arthur Schwartz and Howard Dietz’s The Band Wagon) – A lively, rhythmic celebration of showmanship."Seventy Six Trombones" (from Meredith Willson’s The Music Man) – A grand, march-style finale perfectly suited to unleash the full power of a brass band.
Godfrey "Goff" Richards (18 August 1944 – 25 June 2011) was a prominent Cornish composer, arranger, conductor, and educator best known for his extensive contributions to the brass band tradition. Born in St Minver, Cornwall, and raised in north Cornwall, he studied at the Royal College of Music (graduating in 1965) and earned a postgraduate diploma in education from Reading University. In his early career he played the trombone with local groups like the St Minver Silver Band and the Cornwall Youth Brass Band, and served as Head of Music at Fowey School and Newquay School.
Richards lectured in arranging and brass band studies at Salford College of Technology (1976–1989) and directed the university's jazz orchestra, leading them to win the BBC Big Band of the Year title in 1989. He wrote or arranged roughly 1,000 works spanning brass band test pieces, orchestral scores, choral pieces, and big band charts. Some of his famous original brass compositions include "Trailblaze", "Doyen", "Exploding Brass!", "The Shepherds Song", "The Aeronauts", and the marches "The Jaguar" and "Barnard Castle". He also wrote the widely played tenor horn solo "Demelza" under the pen name Hugh Nash. Richards was honored in 1976 as Gwas Mynver (Son of St Minver) for his cultural contributions to Cornwall. Salford University awarded him a doctorate in 1990.
Wolfgang Amadeus Mozart (1756–1791) was an Austrian composer widely regarded as one of the greatest and most prolific figures in the history of Western music. Born on January 27, 1756, in Salzburg, Austria (then part of the Holy Roman Empire) He was taught by his father, Leopold Mozart, a court violinist and composer. He started playing keyboard instruments at age three, composed his first music at age five, and performed before European royal courts as a young child with his sister, Maria Anna ("Nannerl").
Mozart worked as a court musician and concertmaster for the Archbishop of Salzburg, Colloredo, though he grew frustrated with the strict local control. He relocated to Vienna in 1781 as an independent freelance musician. In August, 1782, he married Constanze Weber with whom he had six children, though only two survived infancy. In 1787, he was appointed as an imperial chamber composer by Emperor Joseph II in 1787.
Mozart composed more than 800 works spanning every major genre of his time, including symphonies, string quartets, concertos, and masses. His famous operas include masterworks such as The Marriage of Figaro, Don Giovanni, and The Magic Flute.
Mozart died in Vienna on December 5, 1791, at the age of 35, leaving his Requiem unfinished.
Breezin’ Down Broadway!Arranged by Goff Richards
Breezin’ Down Broadway! is a fast-paced, foot-tapping musical medley that celebrates some of the greatest hits in American theater history. The piece was originally commissioned by the St. Breward Silver Band in Cornwall, England. Renowned composer and arranger Goff Richards dedicated the work in memory of his uncle, Jack Wills, a well-known brass band arranger who had a profound musical influence on Richards' early life.
Richards weaves together six iconic theatrical numbers into a seamless, high-energy showcase. The medley provides an excellent display of classic British brass band texture, blending rhythmic precision with rich, lyrical brass harmonies.
Musical Selections
The medley cycles through six timeless show tunes, effortlessly shifting tempos and styles to keep audiences engaged:
"Another Openin', Another Show" (from Cole Porter’s Kiss Me, Kate) – Sets the stage with an exciting, theatrical introduction."There's No Business Like Show Business" (from Irving Berlin’s Annie Get Your Gun) – A soaring, celebratory anthem of the stage."Get Me to the Church on Time" (from Lerner and Loewe’s My Fair Lady) – Infuses a jaunty, up tempo drive."Oklahoma!" (from Rodgers and Hammerstein’s Oklahoma!) – Delivers sweeping, classic Americana melodies."That's Entertainment" (from Arthur Schwartz and Howard Dietz’s The Band Wagon) – A lively, rhythmic celebration of showmanship."Seventy Six Trombones" (from Meredith Willson’s The Music Man) – A grand, march-style finale perfectly suited to unleash the full power of a brass band.
Godfrey "Goff" Richards (18 August 1944 – 25 June 2011) was a prominent Cornish composer, arranger, conductor, and educator best known for his extensive contributions to the brass band tradition. Born in St Minver, Cornwall, and raised in north Cornwall, he studied at the Royal College of Music (graduating in 1965) and earned a postgraduate diploma in education from Reading University. In his early career he played the trombone with local groups like the St Minver Silver Band and the Cornwall Youth Brass Band, and served as Head of Music at Fowey School and Newquay School.
Richards lectured in arranging and brass band studies at Salford College of Technology (1976–1989) and directed the university's jazz orchestra, leading them to win the BBC Big Band of the Year title in 1989. He wrote or arranged roughly 1,000 works spanning brass band test pieces, orchestral scores, choral pieces, and big band charts. Some of his famous original brass compositions include "Trailblaze", "Doyen", "Exploding Brass!", "The Shepherds Song", "The Aeronauts", and the marches "The Jaguar" and "Barnard Castle". He also wrote the widely played tenor horn solo "Demelza" under the pen name Hugh Nash. Richards was honored in 1976 as Gwas Mynver (Son of St Minver) for his cultural contributions to Cornwall. Salford University awarded him a doctorate in 1990.
Meditation - Light of the World (Tune Aurelia)
Dean Goffin, Composer
A meditation illustrating in expressive manner the song: 'O Jesus, Thou art standing outside the fast closed door', ('Aurelia') and which also includes the chorus, 'Behold me standing at the door'. The composer clearly had in mind Holman Hunt's picture of Christ standing at the heart's closed door; for he takes the unusual course in a meditation of introducing the chorus Behold me standing at the door to emphasize the message.
The Horns open with the motif that serves to illustrate the knocking at the heart's door and is used repeatedly throughout the meditation. The first section introduces the tune Aurelia in a vocal style carrying the words O Jesus, thou art standing outside the fast closed door. The second section repeats the melody throughout sections of the band with the emotional character of the music. The music grows in intensity and is very emotional. Without pause, tthe chorus Behold me standing at the door enters and then is followed by a passage where the music reaches its most intense climax. The knocking motif continues throughout. The penultimate section is the second verse of the song, O Jesus, thou art pleading. The final section includes the 'knocking' at the heart's closed door once more, and on this arresting note the meditation is bought to a subdued and satisfying close. May many, through this message, open the door of their hearts to the One who is The Light of the world.
O Jesus, Thou art standing outside the fast closed door (William W. How)
1 O Jesus, thou art standingoutside the fast-closed door,in lowly patience waitingto pass the threshold o'er:shame on us, Christian brethren,his name and sign who bear,oh shame, thrice shame upon usto keep him standing there!
2 O Jesus, thou art knocking;and lo! That hand is scarred,and thorns thy brow encircle,and tears thy face have marred:O love that passeth knowledge,so patiently to wait!O sin that hath no equalso fast to bar the gate!
3 O Jesus, thou art pleadingin accents meek and low,'I died for you, my children,and will ye treat me so?'O Lord, with shame and sorrowwe open now the doordear Saviour, enter, enter,and leave us never more!
William W. How (b. Shrewsbury, Shropshire, England, 1823; d. Leenane, County Mayo, Ireland, 1897) studied at Wadham College, Oxford, and Durham University and was ordained in the Church of England in 1847. He served various congregations and became Suffragan Bishop in east London in 1879 and Bishop of Wakefield in 1888. Called both the "poor man's bishop" and "the children's bishop," How was known for his work among the destitute in the London slums and among the factory workers in west Yorkshire. How wrote some sixty hymns, including many for children. His collected Poems and Hymns were published in 1886.
Chorus used from this song by Fannie Crosby1 Behold me standing at the door,And hear me pleading evermore,With gentle voice, O heart of sin,May I come in? May I come in?
Refrain:Behold me standing at the door,And hear me pleading evermore;Say, weary heart, oppressed with sin,May I come in? May I come in?
2 I bore the cruel thorns for thee;I waited long and patiently;Say, weary heart, oppressed with sin,May I come in? May I come in? [Refrain]
3 I would not plead with thee in vain;Remember all my grief and pain!I died to ransom thee from sin,May I come in? May I come in? [Refrain]
4 I bring thee joy from heaven above;I bring thee pardon, peace and love;Say, weary heart, oppressed with sin,May I come in? May I come in?
Frances Jane Crosby, the daughter of John and Mercy Crosby, was born in Southeast, Putnam County, N. Y., March 24, 1820. She became blind at the age of six weeks from maltreatment of her eyes during a spell of sickness. When she was eight years old she moved with her parents to Ridgefield, Conn., the family remaining there four years. At the age of fifteen she entered the New York Institution for the Blind, where she received a good education. She became a teacher in the institution in 1847, and continued her work until March 1, 1858. She taught English grammar, rhetoric and American history.This was the great developing period in her life. During the vacations of 1852 and 1853, spent at North Reading, Mass., she wrote the words to many songs for Dr. Geo. F. Root, then the teacher of music at the blind institution. Among them were, "Hazel Dell,", "The Honeysuckle Glen," "Rosalie, the Prairie Flower," "Music in the Air," "Proud World, Good-bye, I'm Going Home," "All Together", "Never Forget the Dear Ones," and others. Subsequently she wrote the words for the cantatas of The Flower Queen and The Pilgrim Fathers, all of which were very popular in their day, though it was not generally known at the time that she was the author.
While teaching at the institution she met Presidents Van Buren and Tyler, Hon. Henry Clay, Governor Wm. H. Seward, General Winfield Scott, and other distinguished characters of American history. Concerning Mr. Clay, she gives the following: "When Mr. Clay came to the institution during his last visit to New York, I was selected to welcome him with a poem. Six months before he had lost a son at the battle of Monterey, and I had sent him some verses. In my address I carefully avoided any allusion to them, in order not to wound him. When I had finished he drew my arm in his, and, addressing the audience, said through his tears: 'This is not the first poem for which I am indebted to this lady. Six months ago she sent me some lines on the death of my dear son.' Both of us were overcome for a few moments. Soon, by a splendid effort, Mr. Clay recovered himself, but I could not control my tears." In connection with her meeting these notable men, we might add that Miss Fanny Crosby had the honor of being the first woman whose voice was heard publicly in the Senate Chamber at Washington. She read a poem there on one occasion. In addition to the thousands of hymns that she has written (about eight thousand poems in all), many of which have not been set to music, she has published four volumes of verses. The first was issued in 1844 and was entitled The Blind Girl, and Other Poems, a second volume, Monterey, and Other Poems, followed in 1849, and the third, A Wreath of Columbia's Flowers, in 1858. The fourth, Bells at Evening and Other Verses, with a biographical sketch by Rev. Robert Lowry, and a fine half-tone portrait, in 1897, the sales of which have reached a fourth edition. The book is published by The Biglow & Main Co., New York.
Though these show the poetical bent of her mind, they have little to do with her world-wide fame. It is as a writer of Sunday-school songs and gospel hymns that she is known wherever the English language is spoken, and, in fact, wherever any other language is heard.
Fanny was married March 5, 1858, to Alex. Van Alstyne, who was also a scholar in the same institution in which she was educated.
She began to write Sunday-school hymns for Wm. B. Bradbury in 1864. Her first hymn,
"We are going, we are goingTo a home beyond the skies",
was written at the Ponton Hotel on Franklin Street, New York City, on February 5th of that year. This hymn was sung at Mr. Bradbury's funeral in January, 1868. Since 1864 she supported herself by writing hymns. She resided in New York City nearly all her life, where, she says, she is "a member of the Old John Street M. E. Church in good standing." She spent regular hours on certain days at the office of The Biglow & Main Co., the firm for which she did most of her writing, and for whom she has composed over four thousand hymns. Her hymns have been in great demand and have been used by many of our most popular composers, among whom may be mentioned Wm. B. Bradbury, Geo. F. Root, W. H. Doane, Rev. Robert Lowry, Ira D. Sankey, J. R. Sweney, W. J. Kirkpatrick, H. P. Main, H. P. Danks, Philip Phillips, B. G. Unseld, and others. She could compose at any time and did not need to wait for any special inspiration, and her best hymns have come on the spur of the moment. She always composed with an open book in her hand, generally a copy of Golden Hymns, held closely over her eyes, bottom side up. She learned to play on the guitar and piano while at the institution, and has a clear soprano voice. She also received a technical training in music, and for this reason she could, and did, compose airs for some of her hymns. One of these is,
"Jesus, dear, I come to Thee,Thou hast said I may,"
both words and music of which are wonderfully sweet. "Safe in the arms of Jesus", probably one of her best known hymns, was her own favorite. Fanny loved her work, and was happy in it. She was always ready either to sympathize or join in a mirthful conversation, as the case may be. The secret of this contentment dates from her first composition at the age of eight years. "It has been the motto of my life," she says. It is:
"O what a happy soul am I!Although I cannot see,I am resolved that in this worldContented I will be;"This has continued to be her philosophy. She says that had it not been for her affliction she might not have so good an education, nor so great an influence, and certainly not so fine a memory. She knows a great many portions of the Bible by heart, and had committed to memory the first four books of the Old Testament, and also the four Gospels before she was ten years of age.
Her scope of subjects is wide, embracing everything from a contemplation of heaven, as in "The Bright Forever" and "The Blessed Homeland", to an appeal to the work of this world, as in "To the Work" and "Rescue the Perishing." The most of Fanny's published hymns have appeared under the name of Fanny J. Crosby or Mrs. Yan Alstyne, but quite a large number have appeared under the nom de plumes of Grace J. Frances, Mrs. C. M. Wilson, Lizzie Edwards, Ella Dale, Henrietta E. Blair, Rose Atherton, Maud Marion, Leah Carlton, nearly two hundred different names.
Sir Dean Goffin (9 July 1916 – 23 January 1984) was one of New Zealand's first prolific Salvation Army composers who composed not only music for the Army but for non-Army bands as well.
He grew up in a musically active Salvation Army family, his father a famous bandmaster and composer of popular marches. From a very young age he was active in the musical life of New Zealand, both in and out of the Salvation Army, becoming, at the age of 19, bandmaster of the famed Wellington South Corps. During World War II he served as a military musician, forming and training the band of the 20th Infantry Battalion of the 4th Brigade that was active in the Middle East.Goffin was the first major Salvation Army composer to complete a bachelor in music from the University of Otago in 1950. Shortly after he trained to become a Salvation Army Officer, serving initially in New Zealand, then in Great Britain where he held the positions of National Bandmaster (1956–1960) and National Secretary for bands and Songster Brigades (1960–1966). Transferred back to New Zealand (1966), Goffin assumed senior administrative positions culminating in his appointment as Territorial Commander (1980). Goffin was appointed a Knight Bachelor in the 1983 Queen's Birthday Honours.
His major works include: Meditation – The Light of the World; Symphony of Thanksgiving, written for the International Staff Band of The Salvation Army in 1951 for their Diamond Jubilee Celebration; and Rhapsody In Brass, selected for the 1949 British Open Brass Band Championships at Belle Vue. Rhapsodic Variation – My Strength My Tower was conceived as a test piece for Brass Band but its publication was prevented by his commissioning as a Salvation Army officer, until it was modified for publication as by the Salvation Army.
The Horns open with the motif that serves to illustrate the knocking at the heart's door and is used repeatedly throughout the meditation. The first section introduces the tune Aurelia in a vocal style carrying the words O Jesus, thou art standing outside the fast closed door. The second section repeats the melody throughout sections of the band with the emotional character of the music. The music grows in intensity and is very emotional. Without pause, tthe chorus Behold me standing at the door enters and then is followed by a passage where the music reaches its most intense climax. The knocking motif continues throughout. The penultimate section is the second verse of the song, O Jesus, thou art pleading. The final section includes the 'knocking' at the heart's closed door once more, and on this arresting note the meditation is bought to a subdued and satisfying close. May many, through this message, open the door of their hearts to the One who is The Light of the world.
O Jesus, Thou art standing outside the fast closed door (William W. How)
1 O Jesus, thou art standingoutside the fast-closed door,in lowly patience waitingto pass the threshold o'er:shame on us, Christian brethren,his name and sign who bear,oh shame, thrice shame upon usto keep him standing there!
2 O Jesus, thou art knocking;and lo! That hand is scarred,and thorns thy brow encircle,and tears thy face have marred:O love that passeth knowledge,so patiently to wait!O sin that hath no equalso fast to bar the gate!
3 O Jesus, thou art pleadingin accents meek and low,'I died for you, my children,and will ye treat me so?'O Lord, with shame and sorrowwe open now the doordear Saviour, enter, enter,and leave us never more!
William W. How (b. Shrewsbury, Shropshire, England, 1823; d. Leenane, County Mayo, Ireland, 1897) studied at Wadham College, Oxford, and Durham University and was ordained in the Church of England in 1847. He served various congregations and became Suffragan Bishop in east London in 1879 and Bishop of Wakefield in 1888. Called both the "poor man's bishop" and "the children's bishop," How was known for his work among the destitute in the London slums and among the factory workers in west Yorkshire. How wrote some sixty hymns, including many for children. His collected Poems and Hymns were published in 1886.
Chorus used from this song by Fannie Crosby1 Behold me standing at the door,And hear me pleading evermore,With gentle voice, O heart of sin,May I come in? May I come in?
Refrain:Behold me standing at the door,And hear me pleading evermore;Say, weary heart, oppressed with sin,May I come in? May I come in?
2 I bore the cruel thorns for thee;I waited long and patiently;Say, weary heart, oppressed with sin,May I come in? May I come in? [Refrain]
3 I would not plead with thee in vain;Remember all my grief and pain!I died to ransom thee from sin,May I come in? May I come in? [Refrain]
4 I bring thee joy from heaven above;I bring thee pardon, peace and love;Say, weary heart, oppressed with sin,May I come in? May I come in?
Frances Jane Crosby, the daughter of John and Mercy Crosby, was born in Southeast, Putnam County, N. Y., March 24, 1820. She became blind at the age of six weeks from maltreatment of her eyes during a spell of sickness. When she was eight years old she moved with her parents to Ridgefield, Conn., the family remaining there four years. At the age of fifteen she entered the New York Institution for the Blind, where she received a good education. She became a teacher in the institution in 1847, and continued her work until March 1, 1858. She taught English grammar, rhetoric and American history.This was the great developing period in her life. During the vacations of 1852 and 1853, spent at North Reading, Mass., she wrote the words to many songs for Dr. Geo. F. Root, then the teacher of music at the blind institution. Among them were, "Hazel Dell,", "The Honeysuckle Glen," "Rosalie, the Prairie Flower," "Music in the Air," "Proud World, Good-bye, I'm Going Home," "All Together", "Never Forget the Dear Ones," and others. Subsequently she wrote the words for the cantatas of The Flower Queen and The Pilgrim Fathers, all of which were very popular in their day, though it was not generally known at the time that she was the author.
While teaching at the institution she met Presidents Van Buren and Tyler, Hon. Henry Clay, Governor Wm. H. Seward, General Winfield Scott, and other distinguished characters of American history. Concerning Mr. Clay, she gives the following: "When Mr. Clay came to the institution during his last visit to New York, I was selected to welcome him with a poem. Six months before he had lost a son at the battle of Monterey, and I had sent him some verses. In my address I carefully avoided any allusion to them, in order not to wound him. When I had finished he drew my arm in his, and, addressing the audience, said through his tears: 'This is not the first poem for which I am indebted to this lady. Six months ago she sent me some lines on the death of my dear son.' Both of us were overcome for a few moments. Soon, by a splendid effort, Mr. Clay recovered himself, but I could not control my tears." In connection with her meeting these notable men, we might add that Miss Fanny Crosby had the honor of being the first woman whose voice was heard publicly in the Senate Chamber at Washington. She read a poem there on one occasion. In addition to the thousands of hymns that she has written (about eight thousand poems in all), many of which have not been set to music, she has published four volumes of verses. The first was issued in 1844 and was entitled The Blind Girl, and Other Poems, a second volume, Monterey, and Other Poems, followed in 1849, and the third, A Wreath of Columbia's Flowers, in 1858. The fourth, Bells at Evening and Other Verses, with a biographical sketch by Rev. Robert Lowry, and a fine half-tone portrait, in 1897, the sales of which have reached a fourth edition. The book is published by The Biglow & Main Co., New York.
Though these show the poetical bent of her mind, they have little to do with her world-wide fame. It is as a writer of Sunday-school songs and gospel hymns that she is known wherever the English language is spoken, and, in fact, wherever any other language is heard.
Fanny was married March 5, 1858, to Alex. Van Alstyne, who was also a scholar in the same institution in which she was educated.
She began to write Sunday-school hymns for Wm. B. Bradbury in 1864. Her first hymn,
"We are going, we are goingTo a home beyond the skies",
was written at the Ponton Hotel on Franklin Street, New York City, on February 5th of that year. This hymn was sung at Mr. Bradbury's funeral in January, 1868. Since 1864 she supported herself by writing hymns. She resided in New York City nearly all her life, where, she says, she is "a member of the Old John Street M. E. Church in good standing." She spent regular hours on certain days at the office of The Biglow & Main Co., the firm for which she did most of her writing, and for whom she has composed over four thousand hymns. Her hymns have been in great demand and have been used by many of our most popular composers, among whom may be mentioned Wm. B. Bradbury, Geo. F. Root, W. H. Doane, Rev. Robert Lowry, Ira D. Sankey, J. R. Sweney, W. J. Kirkpatrick, H. P. Main, H. P. Danks, Philip Phillips, B. G. Unseld, and others. She could compose at any time and did not need to wait for any special inspiration, and her best hymns have come on the spur of the moment. She always composed with an open book in her hand, generally a copy of Golden Hymns, held closely over her eyes, bottom side up. She learned to play on the guitar and piano while at the institution, and has a clear soprano voice. She also received a technical training in music, and for this reason she could, and did, compose airs for some of her hymns. One of these is,
"Jesus, dear, I come to Thee,Thou hast said I may,"
both words and music of which are wonderfully sweet. "Safe in the arms of Jesus", probably one of her best known hymns, was her own favorite. Fanny loved her work, and was happy in it. She was always ready either to sympathize or join in a mirthful conversation, as the case may be. The secret of this contentment dates from her first composition at the age of eight years. "It has been the motto of my life," she says. It is:
"O what a happy soul am I!Although I cannot see,I am resolved that in this worldContented I will be;"This has continued to be her philosophy. She says that had it not been for her affliction she might not have so good an education, nor so great an influence, and certainly not so fine a memory. She knows a great many portions of the Bible by heart, and had committed to memory the first four books of the Old Testament, and also the four Gospels before she was ten years of age.
Her scope of subjects is wide, embracing everything from a contemplation of heaven, as in "The Bright Forever" and "The Blessed Homeland", to an appeal to the work of this world, as in "To the Work" and "Rescue the Perishing." The most of Fanny's published hymns have appeared under the name of Fanny J. Crosby or Mrs. Yan Alstyne, but quite a large number have appeared under the nom de plumes of Grace J. Frances, Mrs. C. M. Wilson, Lizzie Edwards, Ella Dale, Henrietta E. Blair, Rose Atherton, Maud Marion, Leah Carlton, nearly two hundred different names.
Sir Dean Goffin (9 July 1916 – 23 January 1984) was one of New Zealand's first prolific Salvation Army composers who composed not only music for the Army but for non-Army bands as well.
He grew up in a musically active Salvation Army family, his father a famous bandmaster and composer of popular marches. From a very young age he was active in the musical life of New Zealand, both in and out of the Salvation Army, becoming, at the age of 19, bandmaster of the famed Wellington South Corps. During World War II he served as a military musician, forming and training the band of the 20th Infantry Battalion of the 4th Brigade that was active in the Middle East.Goffin was the first major Salvation Army composer to complete a bachelor in music from the University of Otago in 1950. Shortly after he trained to become a Salvation Army Officer, serving initially in New Zealand, then in Great Britain where he held the positions of National Bandmaster (1956–1960) and National Secretary for bands and Songster Brigades (1960–1966). Transferred back to New Zealand (1966), Goffin assumed senior administrative positions culminating in his appointment as Territorial Commander (1980). Goffin was appointed a Knight Bachelor in the 1983 Queen's Birthday Honours.
His major works include: Meditation – The Light of the World; Symphony of Thanksgiving, written for the International Staff Band of The Salvation Army in 1951 for their Diamond Jubilee Celebration; and Rhapsody In Brass, selected for the 1949 British Open Brass Band Championships at Belle Vue. Rhapsodic Variation – My Strength My Tower was conceived as a test piece for Brass Band but its publication was prevented by his commissioning as a Salvation Army officer, until it was modified for publication as by the Salvation Army.
The Floral Dance
Composer Katie Moss Arranged by Derek Broadbent
"The Floral Dance" is a Cornish song describing the annual Furry Dance in Helston, Cornwall, UK. The Furry Dance (/ˈfʌri/ FUH-ree) is a celebration of the passing of winter and the arrival of spring, and one of the oldest British customs still practiced today. Traditionally held on 8 May, it is held in Helston, Cornwall, where dancers wear lily of the valley, the town's symbolic flower. The name probably derives from Cornish fer meaning "fair, feast" referencing the celebration on 8 May of the Apparition of the Archangel Michael at Monte Gargano, Italy, Helston's patron saint.
Lyrics:I thought I could hear the curious toneOf the cornet, clarinet and big tromboneFiddle, 'cello, big bass drumBassoon, flute and euphoniumFar away, as in a tranceI heard the sound of the Floral Dance
As I walked home on a Summer nightWhen stars in Heav'n were shining brightFar away from the footlight's glareInto the sweet and scented airOf a quaint old Cornish town
Borne from afar on the gentle breezeJoining the murmur of the summer seasDistant tones of an old world dancePlayed by the village band pеrchanceOn the calm air came floating down
I thought I could hеar the curious toneOf the cornet, clarinet and big tromboneFiddle, 'cello, big bass drumBassoon, flute and euphoniumFar away, as in a tranceI heard the sound of the Floral DanceI heard the sound of the Floral Dance
Kate Emily Barkley ("Katie") Moss (1881–1947) was a professional violinist, pianist and concert singer. She was brought up in London and studied at the Royal Academy of Music. Moss wrote the lyrics and music to "The Floral Dance" in 1911, after visiting the Cornish mining town of Helston. During her stay there, she attended the town's traditional Flora Day celebration, the Furry Dance, a day-long affair of collective dancing to an old Cornish air. On her way home, she began writing lyrics and later modified the tune as well. The original melody was retained in the chorus, with the remainder of the composition being Moss's own invention. One music critic considers it a pseudo-folk song while noting that its enduring popularity has helped to sustain and spread the fame of the Furry Dance event itself.
Moss wrote other songs, including "Somewhere in Connemara", "Come Away Moonlight", "The Morris Dancers", "Out of the Silence", as well as a song cycle, Dreams Of Youth, whose five songs are entitled "Faery Song", "The Daisy", "Oh Sleep Little Pearl", "'Twas The Witching Hour Of Night", and "The Devon Maid". None were anywhere near as successful as "The Floral Dance".
Lyrics:I thought I could hear the curious toneOf the cornet, clarinet and big tromboneFiddle, 'cello, big bass drumBassoon, flute and euphoniumFar away, as in a tranceI heard the sound of the Floral Dance
As I walked home on a Summer nightWhen stars in Heav'n were shining brightFar away from the footlight's glareInto the sweet and scented airOf a quaint old Cornish town
Borne from afar on the gentle breezeJoining the murmur of the summer seasDistant tones of an old world dancePlayed by the village band pеrchanceOn the calm air came floating down
I thought I could hеar the curious toneOf the cornet, clarinet and big tromboneFiddle, 'cello, big bass drumBassoon, flute and euphoniumFar away, as in a tranceI heard the sound of the Floral DanceI heard the sound of the Floral Dance
Kate Emily Barkley ("Katie") Moss (1881–1947) was a professional violinist, pianist and concert singer. She was brought up in London and studied at the Royal Academy of Music. Moss wrote the lyrics and music to "The Floral Dance" in 1911, after visiting the Cornish mining town of Helston. During her stay there, she attended the town's traditional Flora Day celebration, the Furry Dance, a day-long affair of collective dancing to an old Cornish air. On her way home, she began writing lyrics and later modified the tune as well. The original melody was retained in the chorus, with the remainder of the composition being Moss's own invention. One music critic considers it a pseudo-folk song while noting that its enduring popularity has helped to sustain and spread the fame of the Furry Dance event itself.
Moss wrote other songs, including "Somewhere in Connemara", "Come Away Moonlight", "The Morris Dancers", "Out of the Silence", as well as a song cycle, Dreams Of Youth, whose five songs are entitled "Faery Song", "The Daisy", "Oh Sleep Little Pearl", "'Twas The Witching Hour Of Night", and "The Devon Maid". None were anywhere near as successful as "The Floral Dance".
Yule Dance
Composer Philip Harper
Yule Dance is a high-octane festive showpiece arranged by the acclaimed conductor and composer Philip Harper. Taking a clear cue from the driving rhythmic energy, foot-stomping pacing, and meteoric global impact of Bill Whelan’s Riverdance, Harper applies a spectacular Celtic-dance treatment to a medley of traditional Christmas carols.
The arrangement seamlessly handles and transforms four classic seasonal melodies:
O Little Town of Bethlehem (19th Century English)In Dulci Jubilo (14th Century German)I Saw Three Ships (18th Century English)Sussex Carol (Traditional English)
Rather than settling into a standard pastoral holiday mood, the piece utilizes relentless syncopated rhythms, brilliant percussion flourishes, and sweeping modal countermelodies to build momentum. Just like the iconic dance production that inspired it, Yule Dance develops into a massive, breathless, and thrillingly complex climax. Combining familiar Yuletide joy with the sheer virtuosity of a modern brass band, it serves as the ultimate high-energy concert finale.
Lyrics:O Little Town of BethlehemBrooks, Phillips, D.D., was born at Boston, Dec. 13, 1835, graduated at Harvard College 1855, and was ordained in 1859. Successively Rector of the Church of the Advent, Philadelphia, and Trinity Church, Boston, he became Bishop of Mass. in 1891 and died at Boston in Jan. 1893. His Carol, "O little town of Bethlehem," was written for his Sunday School in 1868, the author having spent Christmas, 1866, at Bethlehem.
O little town of Bethlehem,How still we see thee lie!Above thy deep and dreamless sleepThe silent stars go by.Yet in thy dark streets shinethThe everlasting Light;The hopes and fears of all the yearsAre met in thee tonight.
For Christ is born of Mary,And gathered all above,While mortals sleep, the angels keepTheir watch of wondering love.O morning stars together,Proclaim the holy birth,And praises sing to God the King,And peace to men on earth!
How silently, how silently,The wondrous Gift is giv’n;So God imparts to human heartsThe blessings of His Heav’n.No ear may hear His coming,But in this world of sin,Where meek souls will receive Him still,The dear Christ enters in.
Where children pure and happyPray to the blessèd Child,Where misery cries out to Thee,Son of the mother mild;Where charity stands watchingAnd faith holds wide the door,The dark night wakes, the glory breaks,And Christmas comes once more.
O holy Child of Bethlehem,Descend to us, we pray;Cast out our sin, and enter in,Be born in us today.We hear the Christmas angelsThe great glad tidings tell;O come to us, abide with us,Our Lord Emmanuel!
In Dulci Jubilo (tune by J.S. Bach)Good Christian Friends, Rejoice (a loose translation in 1853 by John Mason Neale)
Good Christian friends, rejoicewith heart and soul and voice;give ye heed to what we say:Jesus Christ was born today.Ox and ass before him bow,and he is in the manger now.Christ is born today!Christ is born today!
2 Good Christian friends, rejoicewith heart and soul and voice;now ye hear of endless bliss:Jesus Christ was born for this!He has opened heaven's door,and we are blest forevermore.Christ was born for this!Christ was born for this!
3 Good Christian friends, rejoicewith heart and soul and voice;now ye need not fear the grave:Jesus Christ was born to save!Calls you one and calls you allto gain his everlasting hall.Christ was born to save!Christ was born to save!
I Saw Three Ships (18th Century English)The history of "I Saw Three Ships" mixes traditional English folk heritage with mysterious religious symbolism. While its exact authors are unknown, the carol's jaunty, upbeat melody and distinctive rhythm suggest it may have been sung by traveling medieval minstrels long before it was ever written down. The earliest recorded printed versions of the song date back to the 17th century, where it was heavily tied to folk traditions in areas like Derbyshire and Cornwall. In these early oral traditions, it was often known by the title "As I Sat On a Sunny Bank". The song reached a massive mainstream audience in 1833, when an antiquarian named William Sandys published it in his landmark book, Christmas Carols, Ancient and Modern.
The most famous element of the carol is its geographical inaccuracy: the lyrics describe three ships sailing into Bethlehem. Bethlehem is entirely landlocked, sitting in the hills of the West Bank with the nearest major body of water (the Dead Sea) about 20 miles away.
Scholars and historians have proposed several theories to explain why ships are mentioned:
The Ships of the Desert: A prominent theory suggests the "ships" are actually a poetic metaphor for the camels ridden by the Three Wise Men (Magi), which have historically been referred to as "ships of the desert". Over generations of oral retelling, the camels were replaced by actual sailing vessels in English folk culture.The Relics of the Magi: Another popular historical theory dates back to 1162. Rainald of Dassel, the Archbishop of Cologne, transported what were believed to be the skeletal remains (relics) of the Three Wise Men across the Mediterranean Sea and up the Rhine River to the Cologne Cathedral in Germany. The three ships carrying these sacred relics captured the medieval public's imagination and likely inspired the imagery.The Royal Coat of Arms: A third theory points to King Wenceslaus II of Bohemia, whose 13th-century royal coat of arms featured three silver galleys.
Regardless of its literal inaccuracies, the song's maritime imagery resonated deeply with the coastal and seafaring communities of Great Britain, ensuring its survival as an enduring holiday classic.
1 I saw three ships come sailing inOn Christmas Day, on Christmas Day;I saw three ships come sailing inOn Christmas Day in the morning.
2 And who was in those ships all three,On Christmas Day, on Christmas Day?And who was in those ships all three,On Christmas Day in the morning?
3 Our Saviour Christ and his ladye,On Christmas Day, on Christmas Day;Our Saviour Christ and his ladye,On Christmas Day in the morning.
4 Pray whither sailed those ships all three,On Christmas Day, on Christmas Day?Pray whither sailed those ships all three,On Christmas Day in the morning?
5 O they sailed into Bethlehem,On Christmas Day, on Christmas Day;O they sailed into Bethlehem,On Christmas Day in the morning.
6 And all the bells on Earth shall ring,On Christmas Day, on Christmas Day;And all the bells on Earth shall ring,On Christmas Day in the morning.
7 And all the angels in Heaven shall sing,On Christmas Day, on Christmas Day;And all the angels in Heaven shall sing,On Christmas Day in the morning.
8. And all the souls on Earth shall sing,On Christmas Day, on Christmas Day;And all the souls on Earth shall sing,On Christmas Day in the morning.
Sussex Carol [Traditional English]
The "Sussex Carol," famously known by its opening line "On Christmas Night All Christians Sing," is a joyful traditional English carol that beautifully merges 17th-century Irish text with a 20th-century English folk melody.
Despite its English name, the words were first published in Ghent, Belgium, by Bishop Luke Wadding—a Catholic bishop from Wexford, Ireland. It appeared in his book Small Garland of Pious and Godly Songs. Wadding likely preserved an older oral folk tradition when he printed it. The carol got its modern name and iconic tune because of the legendary English composer and folk song preservationist Ralph Vaughan Williams. In May 1904, he traveled to the hamlet of Monk's Gate near Horsham, Sussex, where a local woman named Harriet Verrall sang the festive melody to him. Vaughan Williams captured the tune, matched it to Wadding's 1684 text, and eventually published the definitive version in 1919. Today, it remains a beloved holiday standard worldwide.
The standard lyrics to "On Christmas Night All Christians Sing" celebrate the birth of Christ, the joy of redemption, and the triumph of light over darkness with the refrain "Glory to God and peace to men".
Lyrics (collected by Cecil Sharp)
On Christmas night all Christians singTo hear what news those angels bring;News of great joy, news of great mirth,News of our Saviour King's own birth.
Then why should men on earth be so sadSince our Redeemer made us glad,When from sin He set us freeAll for to gain our liberty.
Now sin depart, behold His grace,Everlasting life comes in its place,And soon we shall its terror seeAnd poor and rich must conquered be.
Then out of darkness we see light,Which makes all angels to sing this nightGlory to God and peace to menBoth now and evermore. Amen.
The arrangement seamlessly handles and transforms four classic seasonal melodies:
O Little Town of Bethlehem (19th Century English)In Dulci Jubilo (14th Century German)I Saw Three Ships (18th Century English)Sussex Carol (Traditional English)
Rather than settling into a standard pastoral holiday mood, the piece utilizes relentless syncopated rhythms, brilliant percussion flourishes, and sweeping modal countermelodies to build momentum. Just like the iconic dance production that inspired it, Yule Dance develops into a massive, breathless, and thrillingly complex climax. Combining familiar Yuletide joy with the sheer virtuosity of a modern brass band, it serves as the ultimate high-energy concert finale.
Lyrics:O Little Town of BethlehemBrooks, Phillips, D.D., was born at Boston, Dec. 13, 1835, graduated at Harvard College 1855, and was ordained in 1859. Successively Rector of the Church of the Advent, Philadelphia, and Trinity Church, Boston, he became Bishop of Mass. in 1891 and died at Boston in Jan. 1893. His Carol, "O little town of Bethlehem," was written for his Sunday School in 1868, the author having spent Christmas, 1866, at Bethlehem.
O little town of Bethlehem,How still we see thee lie!Above thy deep and dreamless sleepThe silent stars go by.Yet in thy dark streets shinethThe everlasting Light;The hopes and fears of all the yearsAre met in thee tonight.
For Christ is born of Mary,And gathered all above,While mortals sleep, the angels keepTheir watch of wondering love.O morning stars together,Proclaim the holy birth,And praises sing to God the King,And peace to men on earth!
How silently, how silently,The wondrous Gift is giv’n;So God imparts to human heartsThe blessings of His Heav’n.No ear may hear His coming,But in this world of sin,Where meek souls will receive Him still,The dear Christ enters in.
Where children pure and happyPray to the blessèd Child,Where misery cries out to Thee,Son of the mother mild;Where charity stands watchingAnd faith holds wide the door,The dark night wakes, the glory breaks,And Christmas comes once more.
O holy Child of Bethlehem,Descend to us, we pray;Cast out our sin, and enter in,Be born in us today.We hear the Christmas angelsThe great glad tidings tell;O come to us, abide with us,Our Lord Emmanuel!
In Dulci Jubilo (tune by J.S. Bach)Good Christian Friends, Rejoice (a loose translation in 1853 by John Mason Neale)
Good Christian friends, rejoicewith heart and soul and voice;give ye heed to what we say:Jesus Christ was born today.Ox and ass before him bow,and he is in the manger now.Christ is born today!Christ is born today!
2 Good Christian friends, rejoicewith heart and soul and voice;now ye hear of endless bliss:Jesus Christ was born for this!He has opened heaven's door,and we are blest forevermore.Christ was born for this!Christ was born for this!
3 Good Christian friends, rejoicewith heart and soul and voice;now ye need not fear the grave:Jesus Christ was born to save!Calls you one and calls you allto gain his everlasting hall.Christ was born to save!Christ was born to save!
I Saw Three Ships (18th Century English)The history of "I Saw Three Ships" mixes traditional English folk heritage with mysterious religious symbolism. While its exact authors are unknown, the carol's jaunty, upbeat melody and distinctive rhythm suggest it may have been sung by traveling medieval minstrels long before it was ever written down. The earliest recorded printed versions of the song date back to the 17th century, where it was heavily tied to folk traditions in areas like Derbyshire and Cornwall. In these early oral traditions, it was often known by the title "As I Sat On a Sunny Bank". The song reached a massive mainstream audience in 1833, when an antiquarian named William Sandys published it in his landmark book, Christmas Carols, Ancient and Modern.
The most famous element of the carol is its geographical inaccuracy: the lyrics describe three ships sailing into Bethlehem. Bethlehem is entirely landlocked, sitting in the hills of the West Bank with the nearest major body of water (the Dead Sea) about 20 miles away.
Scholars and historians have proposed several theories to explain why ships are mentioned:
The Ships of the Desert: A prominent theory suggests the "ships" are actually a poetic metaphor for the camels ridden by the Three Wise Men (Magi), which have historically been referred to as "ships of the desert". Over generations of oral retelling, the camels were replaced by actual sailing vessels in English folk culture.The Relics of the Magi: Another popular historical theory dates back to 1162. Rainald of Dassel, the Archbishop of Cologne, transported what were believed to be the skeletal remains (relics) of the Three Wise Men across the Mediterranean Sea and up the Rhine River to the Cologne Cathedral in Germany. The three ships carrying these sacred relics captured the medieval public's imagination and likely inspired the imagery.The Royal Coat of Arms: A third theory points to King Wenceslaus II of Bohemia, whose 13th-century royal coat of arms featured three silver galleys.
Regardless of its literal inaccuracies, the song's maritime imagery resonated deeply with the coastal and seafaring communities of Great Britain, ensuring its survival as an enduring holiday classic.
1 I saw three ships come sailing inOn Christmas Day, on Christmas Day;I saw three ships come sailing inOn Christmas Day in the morning.
2 And who was in those ships all three,On Christmas Day, on Christmas Day?And who was in those ships all three,On Christmas Day in the morning?
3 Our Saviour Christ and his ladye,On Christmas Day, on Christmas Day;Our Saviour Christ and his ladye,On Christmas Day in the morning.
4 Pray whither sailed those ships all three,On Christmas Day, on Christmas Day?Pray whither sailed those ships all three,On Christmas Day in the morning?
5 O they sailed into Bethlehem,On Christmas Day, on Christmas Day;O they sailed into Bethlehem,On Christmas Day in the morning.
6 And all the bells on Earth shall ring,On Christmas Day, on Christmas Day;And all the bells on Earth shall ring,On Christmas Day in the morning.
7 And all the angels in Heaven shall sing,On Christmas Day, on Christmas Day;And all the angels in Heaven shall sing,On Christmas Day in the morning.
8. And all the souls on Earth shall sing,On Christmas Day, on Christmas Day;And all the souls on Earth shall sing,On Christmas Day in the morning.
Sussex Carol [Traditional English]
The "Sussex Carol," famously known by its opening line "On Christmas Night All Christians Sing," is a joyful traditional English carol that beautifully merges 17th-century Irish text with a 20th-century English folk melody.
Despite its English name, the words were first published in Ghent, Belgium, by Bishop Luke Wadding—a Catholic bishop from Wexford, Ireland. It appeared in his book Small Garland of Pious and Godly Songs. Wadding likely preserved an older oral folk tradition when he printed it. The carol got its modern name and iconic tune because of the legendary English composer and folk song preservationist Ralph Vaughan Williams. In May 1904, he traveled to the hamlet of Monk's Gate near Horsham, Sussex, where a local woman named Harriet Verrall sang the festive melody to him. Vaughan Williams captured the tune, matched it to Wadding's 1684 text, and eventually published the definitive version in 1919. Today, it remains a beloved holiday standard worldwide.
The standard lyrics to "On Christmas Night All Christians Sing" celebrate the birth of Christ, the joy of redemption, and the triumph of light over darkness with the refrain "Glory to God and peace to men".
Lyrics (collected by Cecil Sharp)
On Christmas night all Christians singTo hear what news those angels bring;News of great joy, news of great mirth,News of our Saviour King's own birth.
Then why should men on earth be so sadSince our Redeemer made us glad,When from sin He set us freeAll for to gain our liberty.
Now sin depart, behold His grace,Everlasting life comes in its place,And soon we shall its terror seeAnd poor and rich must conquered be.
Then out of darkness we see light,Which makes all angels to sing this nightGlory to God and peace to menBoth now and evermore. Amen.