Take a journey through the seasons of life with this set of four chorale preludes by German composer Bernard Wayne Sanders. The preludes can be played individually or as a set of hymns that outline one’s sojourn from cradle to grave. These sophisticated pieces engage and immerse the listener in these beautiful hymn tunes and are appropriate for both service and concert use.
“I Am Jesus’ Little Lamb”
Sanders’s arrangement of “I Am Jesus’ Little Lamb” features two contrasting sections: a ritornello section played at the beginning and in the middle of the piece, and the hymn tune. The ritornello section uses a motif of three repeated tones with a cascading accompaniment underneath it. A combination of 8' and 4' foundational stops is recommended for this section.
After the opening ritornello, the hymn tune is featured in the treble octave. A soft, solo reed like an oboe or clarinet, perhaps even combined with the tremulant, will illustrate the sturdy but unpretentious nature of the melody. The melody can be accompanied by soft 8' and 4' stops.
The ritornello returns in another key before the melody concludes with its final two phrases. Throughout the piece, the harmonies and rhythms maintain a unique and inviting characteristic for the listener.
The contrasting sections of ritornello-melody-ritornello-melody could illustrate the difference between the dangers God’s flock faces and the safety they have in their Shepherd’s arms. The ritornello section doesn’t hint at the hymn tune, and yet it complements and anticipates the tune so well.
This hymn represents childhood, the first season of a Christian’s life. Listen below.
“Entrust Your Fear and Doubting” / “Thy Way and All Thy Sorrows”
The next piece represents the second period in the Christian’s life. “Thy Way and All Thy Sorrows” (also “Entrust Your Fear and Doubting”—in Lutheran Service Book, it’s 754) is a hymn written by Paul Gerhardt (1607–76). In this collection, it represents the core of a Christian’s life: the time spent with both joys and sadnesses.
Gerhardt’s text and Sanders’s arrangement of the German tune BEFIEHL DU DEINE WEGE are both fittingly serene. Sanders recommends a registration that uses three manuals for two contrasting sections of the piece.
First, a section of inverted triads in the treble clef are played by soft string stops. On another manual, 16' and 8' flutes play a number of different octave intervals at the same time. Then, the chorale melody enters on a third manual in imitative style but beginning with the pedal.
The prelude proceeds in this manner: The first two manuals play a series of inverted triads in various keys, and the pedal and third manual follow with the chorale.
“Lord, Take My Hand and Lead Me”
Sanders’s arrangement of “Lord, Take My Hand and Lead Me” begins with a sparkling imitative section, introduced in the treble clef and followed in the bass clef. This section comes to life with the recommendation of 8' and 2' flutes as the registration. The subject in this section hints at the hymn tune’s final phrase.
The piece then transitions to 12/8 meter for the full hymn tune. The melody is played in long, dotted quarter– and half-note tones, switching back and forth between the bass and treble clefs. A warm principal stop to cut through the accompanying strings would be effective to feature the melody.
As the melody progresses, the 8' and 2' flute combination is interspersed between phrases, providing a delightful contrast of sounds. This line continues to hint at the tune’s final phrase in various keys, without coming to a complete conclusion until the entire hymn tune has been played in its solo line.
Sections of modulation and gathering momentum delay the conclusion of the melody. This has the effect of heightening the listener’s anticipation for the finishing touches to be put on the melody. But, the repeated suggestions at the final phrase throughout the piece prevent the piece from feeling incomplete. At last, the final five notes of the melody are played, and the piece comes to a deliberate and satisfying close.
This hymn represents the third stage in the Christian’s life: death. Musically, this arrangement is anything but somber though. It’s meditative, yet full of anticipation. Of course, the Christian’s death is not the end of his life in Christ; death anticipates resurrection.
“Awake, My Heart, with Gladness”
The final piece in this collection is on the marvelous Easter hymn “Awake, My Heart, with Gladness.” In his arrangement of the concluding piece in this collection, Sanders employs Samuel Scheidt’s (1587–1654) “Galliard Battaglia” (SSWV 59) as a motive throughout the prelude. Portions of the Galliard are interwoven with portions of the Easter chorale AUF, AUF, MEIN HERZ.
Scheidt’s “Galliard Battaglia” is a military-style dance written originally for a brass quintet. Battaglia is the Italian word for “battle,” and a Galliard is an energetic Renaissance-period dance. The music is triumphant and intense, and it moves back and forth between bombastic, forte sections and piano sections that serve as echoes.
The choice of a militaristic musical piece to complement “Awake, My Heart, with Gladness” (LSB 467) is fitting. The Easter text, written by Paul Gerhardt (1607–76), portrays the battle between life and death, between the Christ and the grave. Stanza 2 particularly illuminates this battle:
The foe in triumph shouted
When Christ lay in the tomb;
But lo, he now is routed,
His boast is turned to gloom.
For Christ again is free;
In glorious victory
He who is strong to save
Has triumphed o’er the grave.
Hymn texts with the abbreviation LSB are from Lutheran Service Book © 2006 Concordia Publishing House. All rights reserved.
Order a copy of these sophisticated preludes and enjoy in worship or in concert.
