A Ym's coum 0F smv son mean wm moms M in: oh- Doum 0* Mai-ct a? Music mm mm coma Ruth 5. Tth 1948 tI'HESm M-795 This is to certify that the thesis entitled A Year's Course of Study For Junior Church Choirs presented by Ruth S . Tukey has been accepted towards fulfillment of the requirements for m__degree in flusic Edgcation Major professor DateJBLle‘ _ A YEAR'S COURSE OF STUDY FOR JUNIOR CHURCH CHOIRS BY RUTH s. zggEY A THESIS ' Submitted to the School of Graduate Studies of Michigan State College of Agriculture and Applied Science in partial fulfillment of the requirements for the degree of MASTER OF MUSIC Department of Music 1948 54% q. ~ x. t “I ‘ .5 t -4 \Trf,“‘..’,,«'-w. "le ‘3 V The =r-,s‘3"'~r§r' 33 iTLK'EPJ'I-i'é-i‘a‘l to Twill" 3+“"~'.-3:‘;;=. ”’1‘ Hall" 1:7”.“1 ’ the IT‘QZ’ rain W1 :f' +3357 Fri-€58 - to 5?. J. ""-‘.?“‘-““T' 5"“?"51-1‘ 5"“? "fit-1 s’grryf‘nl cmrmidrr'rflffifh ans? 0. “i=1? 'v"z.‘.\ft5“'."r= :3r'5*'i<“3-:-“.u 5' "‘3": mrm‘s‘crioto tr loin THE-ww- 7-4219» .‘m For +1.“ .“r‘i “inn“? C-*\!r»*" ; J ‘ ‘ -. ' .3 _; '- ’ 5"fid.pf~3:f‘ei‘.iftll:' *3 7r. 7113"?" 5". ("m for 3*.‘10 "an; 5‘1”“: 9'? A YEAR'S COURSE OF STUDY FOR JUNIOR ChUECH CHOIRS Music for every child has been the stimulus for the preparation of the following thesis. In this generation music is recognized as one of the most important phases in the lives of our children. It is now deemed a necessary part in the everyday education of each child rather than the cultural advantages that only a few selected from the wealthy classes may enjoy. There are several sources of this educa- tion: the home, the school, the social meeting places such as com- munity centers, club houses, and also the church. It is the latter source with which we are concerned. Much is being done to further the enrichment program of the youth in our churches today. In many churches musical programs are being added if they have not already been put into practice. There is a great demand for materials and methods in this field, especially for the younger age groups, eight to twelve years, where materials and general plans of study are limited. The church has a great oppor- tunity in presenting musical literature of the church to its young; not only the music itself, but the lives of the great composers, great religious leaders and the great hymn writers of the church. The purpose of the following material is two-fold in the mind of the writer. First, it is to be used as a hand-book for children who are members of junior choirs. In working with children from the ages of eight to twelve years in junior choirs it has been advantageous for the children to have a book of their own, something concrete to have in hand. Most junior choirs are made up of voluntary members and the use of attractive material is necessary. Secondly, the course of -tRI/I‘ [‘[ll‘rLrL‘rIllfhEIl [[[E[ [It [[EJI'I‘ r! I .II' study is prepared to be of help to the minister of music, who must constantly be searching for new and suitable materials. The writer has in mind, especially, the young director just graduated from his fount of learning and beginning his or her work in a new church position. Usually this person has many duties, connected with high school, col- lege, and adult choirs, in addition to his responsibilities with the children's choir. A survey of the materials in this field discloses a scarcity of publication. The larger part of the collections contain only the music and offer but four or five compositions. A few of the materials examined contain biographical sketches of the composers' lives. This handbook makes use of the possibility of integrating music, history and art. The work presented has been divided according to the church calendar for the year. 1t is designed to begin the year in October with the initial appearance of the children's group as a part of the morning worship service of the church at the Thanksgiving time. From that time on, materials are presented for the more important days in the church year, concluding with a sizable amount of material for use in general worship. The course of study includes, first, music: hymns, responses and special music to be learned in the weekly rehearsals and used in the worship service of the church proper once a month when the junior choir will lead in the worship through music. Secondly, the course includes biographical sketches of the well-known composers from the time of Bach down through the years to some of our present—day musicians. It also includes stories of the lives of the hymn writers. Children are attracted to pictures and colors and for that reason works of art by the great masters, correlated with the music and the seasons of the church year, have been included. A study of the value of using a handbook was made in the author's work with the children‘s choir of the First Presbyterian Church of Geneva, New York. This choir of seventy children responded enthusiastic- ally to the plan for a period of five years. During the nine working months of the year, attendance was excellent, and the use of an organized course of study based on children's needs and interests was largely responsible for the success of this choir. Association with the follow- ing junior choirs as director has been of value in learning what materials met the needs of the child participating in church choir: Junior Choir of the Westminster Presbyterian Church of Dayton, Ohio Junior Choir of the Morris Chapel, Ithaca, New York Junior Choir of Calvary Presbyterian Church of Auburn, New York Junior Community Choir of the Neighborhood House, Auburn, New‘York Combined Junior Choirs of Princeton, New Jersey (This was a project carried on under the sponsership of the Westminster Choir College of Princeton, New Jersey, of which faculty the writer was a member.) Junior Choir of the First Presbyterian Church of Geneva, New'York The composers and materials used were all put into practical use with the choirs and found to be satisfactory. As a result of this ex- perience it seems that the choir director seeking suitable material for use with children would find the following points of value in evaluating the material available.* *Mursell, James. Music in American Schools, Chapter IV. l. 7. Does the material create a favorable introduction to the art of music? Is the music good, inspiring and singable? Is the poetry artistic and appealing? Does the material come within the sc0pe of the child's mind? (This does not imply talking down to children. One should remember a great subject deserves a dignified and worthy treatment.) Are the songs ill-placed or poorly arranged? Is the music alive? Does it convey a distinctive mood or way of feeling? Does the material inspire the teacher's enthusiasm? (To bring to children music which one loves himself gives the work a sincerity and compelling power). It is difficult to present material for use with church choirs without seeming to favor a particular denomination or sect. Fvery effort has been made to include in the handbook material that would be suitable for use with any junior choir. l. 9. 10. ll. 12. 13. lb. 15. 16. 17. Junior Choir Books The Harts Junior Church Choir Year Book, Barry L. harts White—Smith Publishing Co. The Junior Choir Church Year, Mabel Nelson Rutenbach Harold Flammer Publishing Co. Singing Children of the Church, Rob Roy Peary G. Schirmer, Inc. Young People's Choir Book, Rob Roy Peery G. Schirmer, Inc. Carol Junior Choir Book, William Lester Theodore Presser The Belfry Book, Katherine Davis Gamble Publishing Co. Junior-Intermediate Anthem Book, Reverend Earle Harpe G. Schirmer, Inc. ' Schirmer's Collection of Favorite Anthems G. Schirmer, Inc. Favorite Sacred Choruses, Carl Mueller G. Schirmer, Inc. Favorite Two-part Choruses for Junior Choir, Carl Mueller G. Schirmer, Inc. Mueller Two-part Anthem Book, Carl Mueller G. Schirmer, Inc. Two Part Choruses, Paul Bliss Theodore Presser More Choral Gems from the Masters, Grant Grant Publishing Co. Anthems for the Junior Choir Westminster Press Hymns for Junior Worship Westminster Press The Hymnal for Youth Westminster Press The Junior A cappella Chorus Book, Carol M. Pitts (Edited by Olaf C. Christiansen) Oliver Detson Publishing Co. '_- 1’95‘ , vat nan Haunts. 001. THE CHRIST. no. nmvma av nor-um. nun ., . um roux (ma. non "cums? no not oocvou." comment. 1931. .7 Ivan: A. . How many of us ever stop to think Cf music as a wondrous magic link With God; taking sometimes the place of prayer When words have failed us 'neath a load of care. Music, that knows no country, race or creed But gives to each according to his need. ------Anon. 77""P‘1' I 1 a I 1 7 .s o o . - T+ '1? fl(.(‘¢ (‘L::T~1H". (‘f‘ "4 '1!” {‘1’} L, f?" i (W \‘31‘1.';‘;.I‘:f T ' :2 g‘ 1‘ J,‘ ‘; Lfa 1"“], in C n I y '0 . y _ I a ' '. I a ‘ ‘ A . 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God J {Yam whom a\\ Mess - m8$ H Pause. $4me uca-‘turcs here be.~ Low; 5‘ Praise Hum a- bove1Y6. heav'n-LY hosT; a Prmse. Fa - Thu; Son and Ho - LY Ghos‘l’. A; Aug‘u—A _____. A __.-.—r. - -— W—nwm—f) —— ' n -- W ~ Rasponse Glorxa Pa‘HK Sunfish ChemT GLo-rY be, To The. Fa? "Wu 1 and To The son, and To The Ho- \Y Ghos'h As H’ was in The. be.- oin - min; is now; and ev- er Shau be. World WtThouT‘ End. A - men, A- man Respon 36 TO PraYCr Hear our PraYerJO Lord Hear our PraYChO Lord In - dine. Thme ear To ma- and 8van‘r Us THY mace. A- man. m, The Crusaders The crusaders were large fronps of people who took long journeys becense of some greet religions idee thflt hed cone into their Winds. ‘he reasons, ideas, and purposes of t‘e crnsedes were many. Some crnsvders were those era vished to teke ever more land or new terri- tory for their religion. In those days whole a nies used to go on crusades, for it often meant conquering en entire nation. For instance, the Christians in Verope went on the first big ,rnsede to take over , Felestine because they believed people of other religions and other be~ liefs were getting too strong in the country. The crusades were some- times called "Holy We 8". Then there were people who felt they would be surer of a place in heaven if they had made the long, hard journey to the very place where (17.. thiFt hed lived. There were also those who felt they would he more V worthy of heaven if they made some sacrifice sncn es giving nr something ‘- thev enjoyed verv much; fasting, which means doing without food. Cr, thev felt if they attempted ome very difficult task and were able to U! ccmplete it, they were also made more worthy. These long journeys were very herd. People often died on the way, but in dyine thev felt they were giving their verv lives for the holy causewhich finally would save them. ihere are many eXCiting stories told of the adventures of the ." crusaders. Some went on foot, walking for months, even years. home went equipped with the best the nation could provide for them. The knights were often the leaders in chwrge of the crusades. The leaders who inspired the people to follow them on these long, hard journeys were often made saints after their death. We have several sends or hym s that were sung by the crusaders and have been hended down through the ages to us. One very beautiful one we will learn today. It is called, "Jesus, the Very Thought of Thee". There are msny stories told about songs that the crusaders sang. Some of them are true and some are just stories as the one I will tell you now. One day many years ago a poor man was found dyirg at the side of the road where the crusaders were wesrilv trudging their war. The man was very tired and so sick he wes unable to help himself. A kind passer— bv seeing him lying there stopped to give him a drink of cold water. Although the sick man was to weak to whisper a thank—you, he was able by some motion or other to let the helper know there was something of value in his pocket. The stranger put his hand into the side of the ragged, old coat but could find nothing but a dirty, crumpled paper with some words written on it. Yes, you have guessed it! There was written on the paper the words to this hymn, ”Jesus, the Very Thought of Thee". When the stranger had finished reading he looked down at the sick man and there seemed to be a beautiful light on his face and a smile on his lips as he quietly died - satisfied that someone else would go on with this hymn from his pocket. The hymn_was written by a monk, Bernard of Clairvaux. We shall read a complete story about him a little later on. There were five great cru- sades and Bernard preached and taught during the second one. He wrote this hymn at about that time, so it is reasonable to think of the crusaders singing it on their way. We are told that the knifhts used to sing it a- round their campfires at night. After learning this beautiful hymn you will be able to understand how the people must have enjored sinsing it as :Zwl P>>FI LLL,MF KKKKK The We in Chrisf Wu: RM;— dc: ~3us :‘Hne var — Y ThougM‘ 0+ Thee wfirk sweeT-ness {Ms my bread: Bu+ Swee+-er {-av TM {vaca +0 See: And in Thv Pres - ence res‘f. A - men. —~x_ _ Rh,— \A‘ _x__ \m a“ ___\ -\ “—- ‘V x ‘ —7__ V h\-__ _ __ __ _._ _‘ __ __——_——_-——-—— —— ——A- —%_ \R_ i 7 7 _ . _____ __ i i , x“— -— \ — i — THANKSGIVING SEASON Folliott Sanford Pierpoint Folliott Sanford Pierpoint was born in Bath, England, in the year 1335. Now, I suppose you are thinking, "What a funny name for a town - Path". Yes, it is a funny name, but the reason that name was given was because long, long ago there were some mineral springs found in the town and the Romans who lived there believed it would be good for their health to bathe in these mineral waters. They Spent a great deal of money and time building huge stone bath houses. The remains of these are still standing in the City of Bath today. Folliott as a boy went to school in Bath and later to Queens College at Cambridge. He wrote many hymns and the one we will learn today is a nature hymn called, "For the Beauty of the Earth". This hymn is entirely one of praise and thanks for our many blessings. It does not have one petition or one "Asking for something" in it. There is an old story about God's sending two angels down to earth. One was the angel of petition or asking, and the other was the angel of thanksgiving. Each was given a basket and told to bring back what he found. Presently the two came back, the one of petition or asking was loaded down with an overflowing basket. The angel of thanksgiving had an almost empty basket and a sad heart that men were so ready to ask rather than to return thanks for gifts received. We must always try to remember what Christ said to all of us, "It is more blessed to give than to receive." In this hymn of Mr. Pierpoint's you will find twenty-four causes of praise. That is why it is thought to be so fine to learn, especially for this Thanksgiving season. God in NaTur FGHiofi S. Pievpo‘m'r Abrldged frame 1 i. F J- U CQQY‘élfi U; whréoc masher For The beau-+Y 04 The ear-Hm For The 810 - rY .A of HM sktes; For The Love which from our blr‘Hn O - VQY and 3 - round US has: Lord at aH J To Thee we rexsc This our New 0+ Bwa‘tew‘ul PYéiSQ. A man _._-._:.._.~, A .3. 7.“ ——— -——> —- flffi i ~.___.——-.—. —— —-—— C I '. ‘M'LM‘S‘P THC'IC we'- I: "P "01’1" it “FF-HP “f. ""“.1 ma" - - t have 'I"v'~:~:7‘r‘. Hi}: 1‘17 0 V -~ 0 Q I“ ’1' I F' '1' - ‘ . t'e or? n in +he Fries :rr“3{+erian “2‘“CV 1n rrv ’“FK ”1+y. fame “f "i ”.1 T71". V have «'31 l'pzld" 9 ”fl" 9‘ ”'51“ ".l l T“: L1”? .1". 1"!“ 1"" " WT“: ~+ if “H . (111‘ 7“ I"“Yi".¢‘ U L '1 V _ . . - . - —-_ Dickinson is a musician who is living today. 5e middlewest of our country, in lafayefte, Tnfliane. i A O Q s \ a . emeriea anw teen went across toe ocean to siufif in 5; €qu 0 f‘ ?%=‘wes a rul*il of +?m1twvctnknowmltleaehers y A V «3 stu‘iec‘. tierlin a: if} +11“ world. was born in 1he V I mere 1: ‘ ‘\ 1 ‘5 h .s.‘ f‘rtT‘lS. 1-, ' _1..“"., he in turn is“. we 17f the kiwi ~-};r'l'“'~-P" ij6"'.’_“r"fJT‘.‘: of rm“ (13], PO is, m:— pecially irteres+:d in 1'e orgvn and ctureh music. Er. Lickinson is a VP“K 9”35 TCd€9l 3*N. Ti seems Pp ”lquS \waars a lTrown tinnwi suit. xlnce, xfiien lira strierflsx1ccre éfl' Pia afvarfru>n+ ‘fhsg' PVsttifr no ‘yiri j Pdrwgl;r e?%\”+ it, 9s¥”ingj him] if a.“ {l d O 7 . C V .I C O O cu;l'r one: 9 Sit. "’ l}? C‘Il" tr) *> ve>'r~;1;i=wi b;' 0:“?Plll; tits nlqu (. . ”firms. we: H‘. n 1 u- p.“ '1."‘~+ f 11‘pc d 011:, i a p vain-1’ 1 1' ls; t- .3 f ‘v g . - v \d s] . a - -_ - . A. 0.-.. . . lf‘I‘nF‘C‘n. 1 1-: (213;: P o warn 7:5: '5 r . ‘ up ‘ U (3‘! mf "‘9? FY“ ’7' l-_J are a very harry and devotee are 3 ~ ‘ W9: '9 + F' 73+ " 0?" n hp" 1"‘Z’Va lT‘I‘? 4 “n l‘ -‘é‘t'f‘: f (“19+ T'V'r‘, hf’V" $T¥1.']’|Qri 10" ‘ x O . vv f'nL [fir-.7“. pr: A '3 :‘T‘nggnt {(1ng ‘(xf‘f 1"! ‘t (1") (jr‘lrz r :44' fl p F -.'-}p 0011‘ op ] I1. 9 (‘15; York Ti+y. "e are frld rs. Tiekiwson alwavs attends her husband's C {\1“.,\'= 3‘ p")‘ "-| r C‘,’ w C 1'. (- r . 3 IQ 1' )‘f' " f: 1.1“ fl .‘ 7. f. Y‘ ‘ (\ 1‘.“ rpc‘ : ,‘Y‘C .. '2- 1.1" 7'?“ (344:). ."‘:' l ,7 ‘ 11‘1‘Im r" imV . " l" 1.1 Illa "H... no and helftul "rifioisre nonsern‘n ' - I —‘ - 0 30"?“ F‘f'lF-E €31" bf: f‘r‘fHA +14: '9 Y-’*":_r> ttftld'ripr )‘ 2l11~ A. _ . _ - ,_ .. _ ‘rulvn ta 0 u I T‘cLPr—“j WIP.’ “ V‘- a”! " to not waif-furl,” 91:»C. tyre; foil: +}-.-'+ ("1n brag 2+ w L,/‘\I"+ "\Y“Q women verb F'H ‘ ’3 .4 . 4. ‘4 O ‘ “Lx 5+ To The Lark " bv Clarence Duckm son Lls‘l’ +0 The Lark! He ‘ Soars and “ Wake “To Yuvv work 2 The Prc\se God {-or work! Noon- 'hdc \5 near JThe board \5 Spreads Thahhs he to l-hm Who QlV-tQ'Hfi brawl I. anse God 4w breed! smks to NS Shep The PHSHM Home ward +0 Yes‘T.The dav \s done. —___——— Praisc God {0? MST "'- GEORGE H. PILGRIMS GOING T'wonsle BRITISH Boucmon (1333-1905) LENOX LIBRARY. :4. v. 18 Q snowu-nonznrsou co.. mc.. new YORK PRINTED IN 0. 8. L- Praver of ThanKs B‘VMB' Ne‘l’heriand FoiK some Arr. bv Kre mser We. Bath - er +0 - Beth . er' #0 asK The Lord’s buss-m8. He chas- firm and has-tens the wi\\ To make Known; The wucK- ed 0? - Press - m8 cease Themérom dus - fiess-mBsSmB Praia-es To H\s namea- He “Forr- Be'fs no? HIS Own Be - Side vs 'Po autde us. our God wfl’h US Jom- me, or- dam - m8 \ mam - Tom- m8 His KmB-dom d1- \nne. So trom The be '- 8m - nmg The. fight -—- We were \Aln,n-n\n8;Thov, Lord was? aT our sndc - The Bio - N be Thme 1 do ex- +o| Thee) Thou Lead ~er \n ba‘r- fies And PMY, ThaT , Thou ST\\\ our . De - fend - er wuh’ be. Let . Thy con-8M - 8a -'1'\on es - cape-Trub-v- I 1.: -hon.Tnv name be cv-er Praxs‘d- O Lord: make us ‘NR! Lord» aKe r fl 'fg Thom<58ivm8 and Harvesf Rev. Hehrv AL+ord George J.ELveY Come :Ye Thank-(M Peo- Pke I Come. ) xRaxse ”the song 0‘? har- ve 3‘? home: ALL'{s mew 86+h-éred in, Eve The wm~ fer Harms be ~ 8m; God; our Mak ~ er 1 do+h pro -. vxde For .our wards '\'0 be SUD: plied: Come T0 God's OWfl TCWI' PLC: COME) Raxse The Song of her axes? home A- men ~_ _ k THE CHILD HANDEL BRITISH MARGARET I. DICKSEE (1858-1903) PRIVATE COLLECTION 19 © BROWN-ROBERTSON co.. mc.. new YORK PAINTED IN U. S. A. George Frederick handel (léfS-l759) In two little towns not far apart in Germany were born during the same year two baby boys. Both of them were very musical. hany people considered them to be two of the greatest musicians of all ‘times. One was Johann Sebastian Bach, whom we will meet at Christmas~ time in one of our stories, and the other was George Frederick Handel. Sebastian was born in Eisenach and Ceorge was born in Falle. George's father was a barber-surgeon. He had great hopes for his little son. He wanted to give him a good education and have him become a great lawyer. When he discovered that George, even when a small boy, loved music and wished to learn more of it, he put his foot down and bellowed forth a loud "No." In the dark attic of George‘s home there was an old clavichord. How many of you know what is meant by a clavichord? *t was an instrument much like a piano, in fact, it was tue instrument that was used before the piano was invented. It had keys like a piano, and strings, and was played like a piano. if we were writing this story about a boy living now, we would say ”In the attic of his home was an old piano", but the George in our story lived many years ago and the instrument of that day found in his attic was called the clavichord. The little boy used to steal up to the attic on tiptoe and practice secretly. We have a picture of him sur- prised one night while he was playing in his little nightgown and cap. When he was eight years old his father planned a trip to the home of the Luke of Ssxe-Weissenfels, where another son was a valet to the Duke. George bfigfed to go along, but his father refused him. However, when the carriafe had gone some little way it wasfbund the q yourgster had run after it and was clinging on behind. So, of course, he had to be taken inside and as there was no tire to return, he was allowed to make the journey after all. During his visit there, the Duke by chance heard him playing on the clavichord. he recognized George's talent immediately and after much talk with the father, per- suaded him to allow George to have some music lessons. Through ar— rangements made by the Duke, George was to study with the great teacher, Zachau. At ten years of age he wrote six very good trios for two oboes and bass. The oboe was his favorite instrument and he wrote many things for it. His teacher made him write a great many things just for practice. Even though he showed great talent in music, his father was still unconvinced that he should become a musician. So at the age of seventeen, George was sent by his father to the University to study law. At the same time George found a position as organist in one of the churches nearby. At the end of the year it was plain to be seen that the work George did in the church was much better than the work he did on his law studies. He immediately began work, serious work, in music at the Opera Company in Hamburg. it was there that he met another musician and writer, whose name was natheson. The two were great friends and spent much time together. Hatheson and Handel, like Sebastian Bach, went to Lubeck near Hamburg, to hear the great organist Buxtehude. Handel and Hatheson did not have to walk the two hundred miles as did Fach, for they were not so far away and also were not so poor. Furtehude, at the time of these visits, was ready to retire as he had held the position for many years rv and was becoming very old and tired. A contest was teing held to find someone to take his place. Both Handel and Latheson entered their names. It was, of course, a fine position, but there was one catch to it. The man who got the job had to marry Purtehude's elder daughter. After looking over the lady in the case, hot? young men with~ Although pandel end Fatheson were good friends, they also had many difficulties, Cnce when an opera writien by bafheson was being given at the Opera house in Hamburg, the conductor had to be absent lJo I and asked Wendel to take h s place. Katheson, himself, used to play in the orches+ra part of the time and then would rush up on to the stage so sing one of the leading p rts. Followine this, he would hurry down again to his place so he could accept th, ayrlause of the audience which he rightfully deserved. This time Wendel refused to allow him to accept any hows at all, and a fist fight developed right there in front of all the yeople. This was promptly stopped, but only for a little while, for, as was the custom in those days, they decided to use the sword, or to duel as it was called, to settle the argument. Fancel was nearly killed at this time. Latheson {lunged the sword ri ht at Handel, and the only thing that saved him was a very large V button on his coat which broke the tip of Iatneson's sword. Then the tables were turned and Fandel was left free to kill Latheson. He did not ch-cose to do this, tut instead put down his sword. Poth young men then burst into tears and vent away with their arms around each other, 1 for 1hey vere real heart. Lt“ CD ,4- ‘u p ' l' irienrs later on 33ndel W38 ehflored,ty the Tlector of Fanover. Po I hear you asking, " Pat is an flecior?". In our country it ferhaps nifht Kenn a gov~rnor or r”for, someone whn lS elected or CKCCFU “Y the pecple to fill a bite position. In Tr“wflny and swme 0f the other lands acrcss the sea perhaps it ween being a Frince or one vhc ruled over a certain pert Of the ceuntry. it Pny rate, it xe ht the Elector was a very special and important Terson, and it was this imynrtant persnn for when Handel warked. While there, he chanced to Queen Anne of Rnrland was locking far a musician in her court. Hana asked for a short leave of absence and went to inglend. When his leave was up and he was snyposed to come home, he refused, which made the Y €1ect0r in Germsnv very angry. luck was against fiendel this time, for If‘ c;ed. Inxagine soon after thzt Queen Anne died and a new King was Ti how horrible Handel felt when he heard tnvt lis old emr e"er in Ger- many had keen chosen to become the King of Tnglandl For a long while he had to ke(T in hidin", for he was afreid vr the yin: v“nld take his life far disp19951n: him. Fewevrr, one day the King decided he would hsve a bonfin? perty on t%e Tr23nes River. It was to be a verfi 3“le occasion. Hsndel, who always bed plentv of nerve, \ eeirierl The '.~r_='.:ld write some music for the. Kine; rand. see if he c3nld axein feis his favor. Turin: the affevnscn the musicisns came Ivest the Kin" in a barke, slayinfi the tenutiful music H:3ndel had written, .L ) J: W I L‘ (D | v’ ,4. m *t j P ‘ ‘ ’L ‘ Y" . v‘ f' ‘ 7"\ ‘7‘ '1‘) a 'v- v" }':v - 3 v.1 u} (\h . v . l. -L .. Tie .SF‘L I 05‘ 1.1; (‘1 :90 L“.‘.]C.‘z r.“ 10.]. five JANICE}. cult I( _-\_ 1 thIl - ’1 (+1 2: (1: 0') O ’ - I ,4 m ’N H VT in his ccnvt Once erin. This music ever afte ‘V.2ter Yusic”. Handel was {at a very ;enercus nan, n'r was he a careiul wirk- Than like Each. In fact he Often irrrewed cr stole tunes rem other l‘eoyle, wtisl he need very beautifully and called his own. he was . A ~ 1 -. - I . v ' - — v ‘ A " x V v '1 -‘~ ’ 4 - ‘ '| ‘ ‘ ' rf‘ ' “ lxwteres1ww; iliflrflth“ 1KMM:* sc>rva ultxdi ricdig the ufitfilp ilfi‘ludV'tdle , ) :1 People would like it, which was not alweys the test. he was often un- kind to pewple. filthough he lived very near to Peon fer post of his life, he refused to meet him. however, he did write some beautiful music and we will remember him for that. Wren he WHSEHIfud nan,}ne1w¢nrned to hisrrdive Hells frmn England for a visit. While there he played the rrgan many times in - ‘ ”'"v \ , ‘ r~ ‘ ‘ a n. ., , 1r, ~.° public. rven thou;h ne was an old was, 10 Tie kPFC baggy to dflir him T' , slay. re was a rich men when he dies. He had a fine art collection that cost him a great deel nf meney, so we Or“ see all masiciens were not reor, ragged and hungrfi. It was while he was in infland thit he wrote his great oratorio, "The Kpssieh”. An firstnrio, you remember, is a complete story written to music, using 3 chorus of voices, solo voices and an orchestra. "The nessieh” is the story of the life sf Shrist and it is from this story that we will learn our son; for Easter—time. Today, however, we will learn another fine 5 lection of music that Handel wrote. It is celled "Thenks Fe to Thee". This was one of the arias or important solos from a cantata Hendel wrote called "Israel in Egypt". rrlllh PrhleL Thanks be. To Thee harm the Coniata Israu 'm EgypT by G.F Handel ThanKs #3 be to ‘Thee / Lord our God ThY 'Peo - Me has+ Thov Led- wn'Hn , ' Thee. Is - -— ra - e\ 4or+h ThroughThe sea. bk: -- a— Shep- herd has‘l' Thou Led - us: Lard - V Thme The Hand Tha‘f Lead-ah us From ev~ er- Law-ing Thouhas'l’ been our Cod. Thanks _ba to thee Lord” -~ our God Thv Pea-pic hasi' Thou Led- wx‘l’h Thee Is- ’ ra - 9.1 {ori'h ‘Hnroueh ihfi Sta. ' n .__-_._. *____ . _ __i I]: II} CD .3 V ‘ 'r- U) TY“? Y The Three Km 5 Old Can‘l’elan S n8 l-lzvrnomzecl b‘l Romw S e. aem- er ros H the 3. Gund-cd bY +he Won—drods raw th‘l’ l‘HS waY un- w\ll- m8. Whllc The. Came +hvee wlse men ho- LY: when he {we - ran‘l‘ hooe of Sprmg Ev-H heart was (nil- Prmce o-l heov-Qn Lu m a man-gar Low— ”‘8‘ Then wl‘l'h- m a gal" den few Gvewa W Bung-mg Hum:wl1’h Jov un - ‘chl Frank-m- bloS-Som wan-circus rare Frame rose-Tree cease and mvrrh and gold To The Ho-lv lime, {ram a flu. dé- vme ,Fram a roselfrom a Child . To The Morh-u mllcl :To The Child \m- a Tree . from a rose-Tree “Ten - der I Rl‘chih Vlr-gm splen- {llcdl m The arms of Mar Y 1 Bless-ed Vlr-gm Mn- --d0r.\.==.-.’ 2- God The Farther sent the hlgh‘l‘ - rY. -—- 4. PYélSEThE’. clay with demand MIYTh w c. '7le Warld en-shrou - - ed- DarK- hess Love And cx- al- 1’5 - flan; When our K - l! fill: and vell'cl The Slgh'h. Mor- ~ed. Then a'l' mxd-nl glow Nev- er seen on earth ‘be. I Come We how on bend - C‘lflS were cloud.- Sav [our came. To ear'rh Bung- m gh‘l' came a ‘HOlAl l-lum-blG Though our gl‘H mav be man Sal-va~ Low: Came a S‘l'al- So \A/lfll'l'CICémt-l a Knee wl‘l'h a hew'l’ So Purelwwha S+ar so heart so long h‘l' Oh; so While) oh so Lang hf WaSThe s‘lav ngeh‘l' deep ‘l‘hgua JWM-hb Durazwl'flna Tgru .wflrh A hcam- \no: 1 Mo_ h. 'D.c. W " f r fl 1 ¥J l \ 1 1 v j “3 - ‘——_______ " A J .J. L % NH! THE PERRY PICTURES. BOSTON EDITION . 785. MARTIN LUTHER. FROM PAINTING BY HOLBEIN. 1497-1543. ‘ S Nertin Luther {4&3} — lSlo} hertin Luther was born many, many years ago in a home of sturdy peesents in the little villege of lislehen. Qermeny. His father, Hens Iuther, was 2 good men. he was very industrious end worked hard as a miner. It seemed at tee nearby town of Bensfeld, where he worked, the Counts and Dukes made a practice of building and then letting out for hire small furneces for smelting ore. Hans Luther leased one of these small furneces. He worked so long end so herd that soon he was able to add another and even a third. The people of the villsge thought very highly of him and elected him as one of the four leaders on the village council. The family wes very poor when hurtin was a bov and he grew up in the shabby surroundings of the Gerren mining peasants. it is said he often seng in the streets for a crust of breed. Kartin attended the village school at Hensfeld and later the t Eisenach. While at school he was m well-known St. George's school called "a poor student", which meant thzt he lived at a hospice where the rent was free. He attended school without paying the fees and had the rrivilege of begging for his breed at the house doors of the town. In return for this he was to sing each Sunday in the choir of the vil- lage church. He was never a wandering beggfr boy, as so many boys who wanted to so to school had to be in those days. His parents were poor but were nevertheless very careful of him. He found a friend in the wife of a wealthy merchant, Dame Jotte. She took him into her.house and cared for him like her own son for four years. She bought him a little flute, which was his first musical instrument and was his pride and joy. He learned to play her favorite hymns and melodies on it. Cften when she was tired or sad Kartin would get out the little flute and play for her which cheered her very much. later in life Martin was able to repay her for her kindness, for when she was an old, old lady and had no home or money, Hartin took care of her. Martin's father was very hard-working and by the time the boy was ready for the University his father was able to pay his way. He had planned on studying law, but because of his great religious feeling, he entered the convent for monks at Erfurt. There he stayed under the strictest discipline for three years, studying and learning all he could about the church. However, the more he learned the more dissatisfied he became. He found he did not like the laws and rules of his church. One day he wrote down all of the things he did not like and tacked the paper to the front door of the church where everyone passing by might read it. It created a great stir. Martin's friends began to worry for his safety, fearing some angered person might kill him. So they seized him them- selves and hid him in the picturesque old castle near the town of Eisenach. There he remained concealed for a long time. '11. .L Young luther married a girl by the name of hathrine Fora. nis made the church dislike him all the more, for it was one of their rules that's monk must never marry. During his early married life luther had quite a struggle. He had very little money and a small salary. however, his wife was thrifty and helpful to him. She made her garden grow well, she kept pigs and chickens, she raised fish in the little pond near their home and also kept her house filled with paying boarders. Kany times noble people from distant places came to visit luther, to talk to him about matters of the church. Cften the towns— people would then give the Luthsrs a little money to help with the entertainment. In any wrong depds to the rriest at th» church. In they were food for severnl d times they would d3 without were vavy hard. is tin? went along y“ if they hnid the O I O I \ Q or tboy fllfiht F9C91VP f:r;1v«n¢ss w1thvut an" WOTK fir hardshlp. O Q wrfint 1n accehtlnj ffilt the church was bad fipvds. 31) h? traiw; (Cc-"3" “from Hm Ch’U‘C am? 16915 t“ {Fe fpfiylfi. ‘ ?or the erainfer Of his lifn he preached and [“3“ (“IF 'C-ll \ J U hard for tHis cause in whicq be bsl eved. E9 tr “slated A o a. -. —» y u...‘ ".4 marl” . wag ted" ~o 7r 1‘ '? _-' i'-:‘l"‘ d . U, I ‘ ‘ .7 Cer‘Cl'iDB than.) . Today we will learn the curt: ‘ . - 1.1“ 4 ‘ 4L. :. ”f‘rcwnd {\an f‘v‘dm :I;.-.:n\;‘...n . ”- . , “P. “y'all W12) mutter; EU! LuU.J(‘r .LCI‘ rt. . ' #3836: 'n"’:.’I‘€‘ C‘I'lf-"ll'iH-.- ‘ O Culldl‘fin r + '3‘“ -: w<~ ‘ o . ,1 _. , . ‘ '1 ‘3' :1 _. u'll”-£.f' '.1|r1f“’l .LJ"€.:. “ ’ ‘ " the ChristLLs Tve at tte Luthpr h¢me a an 61 used to sin” t .— ~ 4 rev‘lv Witt t‘we lust cnes. It 73+- 05 H“? celebraticnw turn Often given special tasks to shvw 19w snrr; iany times the m u . " 1D 0 ... money to fcrfive 1123 \«1'16‘ 1' ' ‘. , .‘ T‘ .".‘,.,I MICE} ;;I‘C:1IJS .LU QIJLILIDJ, I F? V9921 luther's church it was the custdm for tha reople tc ccnfess f0” forvjveneSs U r thgy were. me9» ta..;¥.3 get the idea that priest in money, the tag? hf penance wmuld he lightened 111+. ‘19? yeople of tféir , 0 each r19 own PP wrote, we”? “ t“ ’ " i‘v ‘ \\‘Ir (“.1 d [LEVI (,~i!.17 (.._-.1 1nto the the Pible of tfe :revt hymns rhich we small versvb. friend dressed as an few versos anfl.the Luthor childrpn wwpld w 1‘ - . azfifurzW kdszLCtnuHJS I -‘ krwrr wwkwr bFPLL Hxs Bir‘fh Mar‘rm Luther “ . ,, Tvans. m Cfihtnne WH’IKWOY'Th Gummha Luzdcr I ;'_¥ L bEIPlng I53? A Good ncws fromhecv’n the en- Sets brmg , Mad ‘hdmes To The earth Thu 3mg 5 ’5 To us The. MY 5 Chitd 1's 8xven, A To Crown Us with The Jov of heav’n A- man. I W HIM I! 4" A 114.444 JJJAIJ _ . a ‘y .‘m. ‘ - 0 _: ~ «I . .1. _ 77- . 7r ‘ .l “A. _\ unC“ unnu a ilme turle Lived a shin] m1_ier. :c x43 Va“; fuhd wf ' ‘ A .. "-.. ‘.-‘ . ‘ ~ .. .. , V 1: . film-"71'1” 3112'. I]. 'inu'g ’u .1 ‘ .L‘-' ‘r‘, V-fi..J.'..:'l '1 b “12'?" I .5.‘\ BIL-”if _L’ St I‘ll? 9d 0 I o 0 ~ 0 1 I instrument. *0 Eli, the wrinrinu Cf tFP Corn t6 tap tcnrw Cf t s ‘4 b7 ' . ‘0 - c ‘ o v V ' ‘ ‘ 1" ‘ 7‘. ‘ '\ 4 - fl ‘- -1‘ \" ".:v‘, - '. " O v I' '. ‘ ELIASlC made (1 nary sauna, t.ms~ @wa «Jr-1;. r‘mu: mu $10,112. in, his; , ‘, '!'_. .: - . .,‘.,-'.,'*..: . ‘ ' ' ",:.. ,1 , twrrn. 111p n.1ldrwdi, tug: ;r IA cununirerL- tit” '-.:1x rwwfitls? it) his f Mil? hit“ the first N'mc dfihfinn. . 9o¥as+if“i*' s a qug" Liff;£=?:1"' ‘ “fivrwirnxsic. Pix; fathr t Wif?¢_ hi.¢ fiv“?t f'? flffi' tkv? vixvlijt, Fifi: lzfi nr'}!c lr'nr7v=d tzfi plfj' ttr? Clfirvitfixfrd. Y2”) rcWJ>Wi¥=r V73 sfwiip fflrfiut 1 He' Cl;NJiQ?KVrd i‘i *FMD Ftcnfiy a’mut HHDffll. Fa firm romrmlwr wk t.we csid atant it? 'Fwn Labastiwn Qfivw a little Aida? he studiej the orjnn, uufi t%i9 w*s thb inrtruurnt Ea} ]_CWJ&Wi tng;t. ajir' f.}na cn;e fz‘r‘ "”>ir:?- be: 1”Y“)I 8 3:7 71:10}1 t~eagn+ i.f111. nu ciirr. 'Cn holifi%ys tkw?inanf ?Lchs 15%»: all OVLI‘i}V'.:_255; m1... If BreaK Forlh. O Beaulaous HeavenlY nglll From “The ChrlsTmas Ora‘l'orlo” bY J. S. Bach L {or‘l’h , O beau - feous heav’n-lY ngk‘l‘, And ,3 . ... BrebK for‘l'lns O beau - 'f'euus he. av ’n-IY ngh‘l’. Alla F.‘ ush ~er m *ha morn -\’D8; Ye Shep-herds Shvmk m? ... ush ~er m 'l'lne. mama- ”‘83 ve. Shep-herds Slxmk Mr A o wrl-h a‘F- {Helm Bu'l’ hear The an~8el§ warn-mgh‘l’hls v ..- wmn a'f - \Crlah‘l'. Bu‘l' hear The. an-8el's wan;- m8. Thls ledl now weak m lan-cxl Ou-r Chl‘dl HOW weak \Yl \n - flan - CY: 0U? , 5‘ con “Fl - dance and JOY Shall be.) The. n Con- ‘Fl- dance and ..lov Shall belfhe Pow”r Peace 0+ 8 . e. 53 Tcr - +an - na'l fer. nal break l-lng . our A break- Jn83.' Our a mak - m8. '3‘ maK « ln8° ___LUJJ llLLl Ulll _ 111 H __l_ll_l_l_ ll ll 1 l lill _ __ LLLU Jil Li J 1 ll 1. lllll. LENTEN SEASON Saint Theodulf of Erleans (750 — 921) Today we will learn the ymn, ”fill Glory, Laud and Honor". This hymn is usually sung at the time of Palm Sunday. 'Way back in the year 890 it was first heard on a Palm Sunday morning. The words were written by Saint Theodulf of Orleans. ”a are not sure when Theodulf 'was born. It was probablv somewhere near the middle of the eighth century. He came from a noble family but we are not sure, either, of the place where he was born. Nany historians think it was in epain. He grew up to be a very fine churchmen, a very learned scholar, and a man who had many friends among the important people of the day. He res a great friend of the Emperor. In fact, he was such a close friend and knew so much of the court business the Emperor began to 'worry. He began to suspect Theodulf of plotting against him. He leept asking himself "What shall I do about it? Perhaps if Theodulf ‘were thrown into prison he would be powerless to carry out any plans or plots that he might have against me. Yes, that is a fine ideaz" Sure enough, it was not long after that Theodulf found himself behind the jprison walls on the order of Emperor Louis. It was the custom in those days that the Emperor would ride through. ‘the streets of the town on Palm Sunday morning. On this particular inalm Sunday the procession passed by the prison. As they slowly moved Inast a beautiful voice was heard singing a hymn. It was a lovely voice 1?inging out on that spring morning and the Emperor was greatly impressed. }ie stOpped and had one of his guards inquire about the singer. It was irheodulf singing through the prison bars and the song he was singing was ‘the hymn we are going to learn today. When the Emperor learned who the singer was he felt very sorry and asked the guard to release Theodulf imme. ~iately. There have been several tunes written for these words. The one we will learn today was written by a Lutheran pastor by the name of Melchior Teschner. The tune was written long after the time of Theodulf - nearly eight hundred years after,or about the year 1615. Jesus Chws‘r‘ The Lord Theodulph of Orleans MeLchior Teschner AH L0~ vv,Lau3,ahd hon- or To hom The hes 0+ chH - drCh W_ W r W V _ W W WWW To Thu.) RC - deem —er I Kth Made. Swee‘t ho - sah - has vihg ' if91_ #1-: 7 f51:;:91__w“‘ __:. W_W'TWW 4th er_flf—. 1 Thou ar+ The. ng 0-? IS - rad; Thou Da - wd’s ‘rov - al Son; Who in The Lord's Name com - es‘h The Kim and BLess-ed One. [0‘ VV 1 Laud; and ' MOW ‘ 0V whom‘The LlPS 0+ Lhul— dvem TO To Thee I Re -dcem-er ; ng Made. 'Swee‘t ho- sen-has vmgg (/2 x \\ ‘ :" / \ r n‘v/ \ “ A- men ' {W W” .-:-: :.. :11: :iiaiAfiZ: - I. 4:: 3:: 1.3:: - -::: Pahm Branches bY Jean Baohsfe 'Faure 1.0’cr ah The. Wav': reanbatmsand Z.- SmB and Ye- dome 0 ble '1' Je- Ave SfrcwnThus day in {es-Tel hLoS - soms 8aW~ Lam ’- 0-6 aH Thv Sons Sm e - ru- 53 - We - Pa - ra - tum. Where Ae-ws comes TthPC our m n - u - pa- Tum. Thro’bound-ess ve Th ChrusTo Team a - wcv .- E’en now The Throne To wel- Come TAM-h - \e - hem - Run 5 ‘Fal'th and have. To Thee tor rhm We.~ Dave. U‘ U“ WWW dam al and l F- m .. name de- dare; LeT «iv-’rY vat'ca re Sound with i ac - cla~ma ~+xoh,H0vSah-na. r-y (‘3 -1 r-—- P‘u"3.t$@. To The Lord 1 Mess Hm W'ho'cume-Th To bvmg U5 sal- va—* Tum Fernurd of Clnirvnnx {1r°fl — 11¢v\ Fain ?ernerd of Sleirveux was one of 1he most fumons monks of all times. A monx in c mfln who lives ayert from the FF:“14P Community life in which we live era Covetes his entire life to religious studies. Fernsrd wee horn in Frence + k beck in +te "ear 157?. Wis fa1her was i knight end peris fl! ‘ on a crnsede. His mother wee e nollewomen. one died "rile Fernrrd mes still a smell boy. is e lad he did not seem fit for the life of a soldier or a knight. Carrying a sword was not whet he vented. he was a quiet child and followed after the libin's of tie notker, who we: very close to in; cherrh \d during her rather short life. His relatives, who took care of him, did not want him +o become a wonk. Then he was atout fifteen rears old they send him '. .l to Veris to etudy'et flméllTiversitf thnr”, hofifij be wovld for'et about the g) church. tut +he deeire Wes alwevs with him wn+il finell" he wes old enough a v I i v 0 O V to Cflfififig for himself, at YWJCH time he entered the monevtery. fi monhstery in +ho place where ihe works live, *Pr? ~nfi stair. Ternard bed great power .n7 other neorle end m Vin“ The” +h1nk Ps he did. Tn faOT, 1t 5.] ‘ vb tqes lien? :"e (7? t?“ic +“ t lie ‘wlq rw"rri*]+er? 'hchnenz. hi' i fur“ WV“Les+¢‘r‘r'Jh¢I ‘he n 1 . . k - ‘ g u‘ u \ . . . I A k _ I ‘l ..... ‘ V 0 was onl? T entfmfonr fpflrs old. 40 Proved to ‘e one o? the great war work1nf for the e‘r-two‘n. he he we law-rm fer and wide l‘xeorx-Ase he would settle e“j?:nzl"1‘1+.s end {isou+es; he could rniet exnitrh’e unvrr heofle, Re need to he an ed~ -- 2 . visor to hinfs end Prinoes and also was the friend end counsellor of tue Pepe. we yonnw men to rive Their lives to become monks. r ‘ m‘ ‘1’ v r w;- .‘. ‘ ~..r~‘y v. IVA . :‘ ‘ ‘ 0‘ 1 v 1‘! 1‘1 .' ' v ‘. ‘ '1' ,se wee S!)5fl10uessitfl. A; Lilh i,..t hll'nfll ¢uet c’ few Je-q>~' tiuw°11eerl;'1.u1ef~- three new mones‘eries were evened. Ternsrd has left mam? writinfs for the A (I U I A V'. V hoopla followin" him. There vere lettere, sermons and h has. His hywns NJ '. vere #11 Written in letin, but non; of them heve been tr3m313*€5 ?nd Ire need 3,. in our churches today. Che ver" level” one we have alreau leerned wws the t V ' a ‘ ’ \ .t‘wcfiaovg a - . r-w.‘ l. lv-H, ‘r O I?""‘:'11" m4 " rim]. '3 wt't'i‘r'f‘“ ‘ {\Vr HHY“ ‘5 PaSSlOfl Hm Leo Heme.- ASCrlbed TO Bernard 0“ C-‘AH’VQUX HarmonIZBd bY J.S. Bach 0 $5 - crcd Head ,now Wound - ed. WVHA - 8nd and Shame washed down Now scorn-WHY sw- vound - ed wtth thorn31Thme on. W Crown; 0 $3 - and HeedJMAaT 8\o- W What bhss T\\\ now Was Thine‘ Yet I Thovgh dc:- Smsed and Bow I Jov To LaH Thee. name. A- man ALL In The APrll Evenmg bv HuAh s. Rabat-Ton All m tha A- mil av—’nin8: A- Pril BN5 Wera a -— broaA: The Sheep Wt+h their Lt+- He Lambs Pass’d me bY on The road. The sheep wn‘th Their LLt- “He ‘ Lambs I Pass’d me. M an the road; ALL In The. A- Prll tv-‘ntng I A t T‘noua‘n‘t on the Lamb 0+ God. ’- Thc Lambs were wea'rY and CHI-mg wfirha weak \rxu- CH 1 I Thought on the. Lamb of God 804mg mu K - \Y +0 dla . Up m the blue Hut . Moan ~ tams . Dew -Y Pas-Wres are. Swu‘h Rest tor the. M- He _ .bo - dxes 1 Rest tov The Lx‘t- ‘tLe ‘ +ee+. Bu't tor the Lamb . “the. Lamb at God I on the NH - TOP green: cross I a ' cross of Shame, Two s+ark Cross —es be- twaen; AH m +he A~ NH Ev- ’mhg I Mr rd aws were a - broad; I Saw The Sheepwfih Thaw Lambs; And +houoh+0h +he. Lamb 0+ God; 1: .||:_: -::_: +2: _:: :_: ::_ ::_ ?P%or I?”W‘°~ ”9v,a3~“v ." IV /V n w ‘ .' ' ‘ u \' 9' -‘ [’1 Peter T1;fifi** '”FC’:ik9vsi"‘vuL : ;.+;: .‘¢~i3:11 f’. V‘ “ a harm in tim tC‘TICL? VCWffinfL. in .'4 'Pat '-'Wtfi'.i.k “‘v "* "<, f:{=r;~ .LQ 1 'hdi‘u: ‘fln‘in- cpr. Thpre wgs no musifi in The lifrlé Fwiflvz-Lt Lxécgi *hm 53;;7W; n? +V¢ IUiFV3PS ?£=‘th€:'n:anr + 7 f‘ i?“*‘”*, ' Q” T! SW?ll.*3fif Patric 1"\x 1' *1‘“'q $610 a? waa gm211_1¢)*'5 thvvfigroc. ?;+#:‘H2 :i?0 ""* -* % va‘;‘?+jf'* (n9. '7") “9 “"’ V9“? h1”11 F? W'f 5'”. *P 9 ‘nv. :hn an 1 ufily 3.39 l V'T‘H 739v Fim VZTf frigFte;f* "‘ nervgus. He did not like his scfiflbl w0r_, es- p034’;7” P7: ”17‘1r0*‘c. '?4‘r h~ % u 1“ m i: 9*K9_; fmr Iivo 791;» u ‘rve £01} a ?'~:“51“W *32f ‘9 "NJ fin~f1* sw‘uoi re 'rit"n €39 TV“ - . ”firmrailll T~tpw m~v ‘Jw gvur Hr brw*\vra u.q w«"~ +'in:. ‘0 Win Vérj Puwd fif tWPr ~iC >8 we Wis “6 r1] ‘fin X” ?9 “77 I‘~n * *y W ~ l-vu, h“ afiwn tun? cnrw hf fhnm ir i?pir ?%V§““‘d u._s. 'U‘Q ‘0 2 C t ~;vn VFW"5 xld “is wwiu r died. 73.13 was v¢%"Itaru fun f‘.e little t g; }%4 lePq Mia '““ r so mu?”1 he could nflt 539 k 0f h"? withéut texrs Chain; ta big eyes. 7 try, his . . . ,. ‘ .. , n . ’GV“TEGSJ. rem lnea w;th n14 ELW :19 was a ulx: and can43rtlnf human. 1“,. 7....: ~* _.,,-_1 8 “CM". pr}- UbfL L») bath: «5.».1 ,.‘ n y]: 519- ‘ . O - - 'J'VIC: ‘.I\ r- y- 1 ‘—- <, _-r ‘-..- -.‘ - ,- F“ \ A , -' -. v‘n ., ‘— u or c» r ~“'-'-,i . 'r -‘ ‘fio l~‘ L ' L S 5C2 .‘o'lr‘tf'j b ’ VL ; ‘ t‘ (‘1 C‘ 1(4 ("{.‘1 'U l .)-4 I" ;‘ . y’rde )3! V": ‘F'Il [ip '9... Ly d 5-.) ' .n IIKV€I1 [kt "- - ‘ < ‘ a \ ’- r‘ “. v '1 ‘ ‘ :‘2 -,v '\~ ‘~v~ w. . xqpnt 1;) 04;”: an IV)? Flu: 9F1? s ufilpt }rua (4”. Cl f*:e tr!Lu += 5 e'rawd sm2vowi SJJICP ‘_ . be ”ad kevn a C 7‘ Q Q \-I - ‘.’- {Pivr, knennse he wvs v»r7 n~rvcus, mnu “ very funny hullt. :RPH ¥a res o ‘1 o O o I ‘_ 1 .. : _o. nof fhlflkinq n9 Mfiulfl bujln chOWInJ anv yjenp qf T“T“" hp m1;nt PHVH in 115 1., a ' 1" 3W3. " ‘ .2-..'.4_§ .+ \ ,.: or", ‘- .!~T.!‘1f‘.. RUFF“ 1~.'r"1'.€’ (i4. LVHT‘LI‘N {4771 .1..."!("I"Y~H., 3 H1-: i-twe .0 8. 00:41:: Ln 0-.s]-(..’-‘ I‘f‘ stafgmd to tnlk udtb a frivnd on tie vuy. “a rename so internsted in whaf the friend was s '13” he h.t up mfirt O; fhm pwyer. ForfnnthIy, PP was aFle t3 make arwmzcnfy. {Arriryg thwaivesjwa.in \fl*i3yl}w9 vn«s :j'fiwirp: u; 119 fi=3u;‘dg a.;rrc¢4; d€%i o v \ ‘.—.. . ~ I about mu81c he had man" fkachnrs, uni name of fbem 599306 +0 tr¢n¥ he wt? arv'rrire ftlvrficai fh=n z: " ”din‘r LCfi'Iir virl. iTFPn }i)1¢1< a vwnur) «n W" enroll‘Wi in tiY"FM19¢rVfiixdfi' and digi ine Inqfii f‘orv. ’VVRfiITijnj yi+}n}ufinmrq. ' . :0 ,...: °. F :. u ,. r‘-‘ . .. .. . hp was O'fPFPd a fwriiifin d3 PPQFtSa'T in .»%COfi. thro hp -nrnad Vrry Vde ain: his many pupils and writing much music himcelf. ?mr same rn~9mn or othmr most of h 6 music was corsidprpd a failure at this ting. 52*i es it was hi9 own fault in prpsvniinf thp mn9ic *4 fwofln. an would hp so nervous and excitthe it onvn mfide the pvdylp iryuti”ni viih hid and ihvy would fcr~ gaf to listen +0 thp bptviifnl music he w nfed than +0 heir. UN was Vpry. modest about his Own work. Cftwn hp T‘Hld 30 +6 concerts to hnwr his own comphsitions being plarrd. He would hvj thw chawyest spat rpcnvse 1+ wnnld he fhe nnP favfhpst in fhe cornpr. Thnna hp wnuid sit wearing dark 5199395 80 reap]? would nnt recognize him. he did nnfi unjfly havi,3 rnflyle make a fuss 0V9? him. ”hpn he was 9 frfiwn mrn he fell in Invn vifh a heaptiful Russian sinfpr. He had plnnnOd r‘n marrvin: hwr Eut his friends wprp Married hpcause fhpy thonjht if Pater married her hp would forgpt all about his own music and jngt he iniprpsted in hor singing. 90 wifhfiut telling anyone thny went to the girl's father and told him Peter weuld mfho a vrry hmd hNthnd for his ? d Ujhtpr. Th9 Old “fin immediately left tcmn with the girl, and Peter was 5. brmkPn-he?nted for he npver knew wh" fhe girl hnd 1pft. After a long timp he marripd another girl, one whom he did not love. It was a very unhafpy situation. Fowvver, he found a very fine fripnd who was a conctant hely to him. Her namp MQS Xudame Von Heck. She believed in his music and decided to give him as a gift certain sums of ménpy pach year so he would be free to work on his music 3nd not have to worry about money for his food and lodging. O) Q There was one condition to the gift and that wfis thét banana Von Ekck and Feter were never to meet. They wrote long, warm letters to each other for many years. They often attrnded the seme concerts, but passed each other as strangers. finch of Peter's music was written for Kadsm Von Heck. Peter was very generous and warm—hearted. He could not hear to see sick people Vithout tryinf to help them. The story is told how one day while visiting in a small Russi n Villefe he heard of an old woman who lay ill in her little cottage. There was no one to care for her for she had no money to pay for a nurse. Peter grshhed his coat and hat and rushed immedintely to her tiny home. There he stayed for four days and three nights looking after her himself, nursing her hack to health. He made many concert tours to foreign countries. Cne of these was to our own America where he was received very warmly by the people who were learning to love his music. He deeply appreciated all of the kind things the Americans did for him, but in his heart he was constantly thinking of the time when his boat should sail again to take him home to Russia. He loved Russia and was unhappy when he was ewsy from his homeland. There was one place he wished to visit while in America. I wonder if you could guess whet that place might be? Would it be that he wished to CD ee the mountains in our western states, the palm trees in Florida, or the beautiful Hudson River in the East? No, none of these, but, in— stead, it was Niagsra Falls! 50 before he left to return to Russia his friends put him on a train to visit the place he had read so much about. He was greatly impressed and a little frightened. He took the ride in the little ”Paid of the Kist" boat that goes so Close to the bottom of that gigantic waterfsll and he said he kept looking around at his companions hoping they would not he shle to see what a coward he really was . He was never very strong and he seemed always too busy to take good care of himself. One year, just before Christmas he was having a little party with his brother end his nerhew, Fob, of whom he was very fond. He became ill from drinking some imrure water that day and died very shortly'sfterwaris. Peter's music was like the life of the Russian people, sometimes very sad and sometimes very gay. He has written some of th. most beautiful melodies we have. His greatest music is written for a full orchestra. In this music we cen see how well he understood all of the instruments. In Russis the people have always been very fond of dancing or ballet as it is sometimes celled. Peter has written some lovely music for the ballet. Today we are going to learn a little song that is used in the church at the lenten Seeson. It is called "A legend". . “slaw. «r. $ Till! m, ‘w m t t A Legend bY PeTcr TSChaIKowsKv leld Je- Sus In his 8m- - den {aw some. Swee'l' red ros - es once had Brown J He Tend -ed ‘fhem wi‘fh ' Lov - {n8 car-e, Thank - [H8 To make hum - self a Crown. A - Les 1 some. Unl- dren . 'H-om *he Vll‘IEBCJ Who one fme. morn - m8 Lame. fha'!’ waY: 'HH Dtd Je- 805’ ml- legal gar- den “ How now sl-lall made? Thev How’r _'For “The +norns are lei-1n” Chuld S and ; ——-——-~ fhe Thorns a}: RH. and Wm WM do. 50 0+ +ne. Thorns a Crown he. wove, And on his need he. Ou+ +ne armyn. Lo . Areas 0+ bhodz *Ms brow a '- bave,- Mora red ‘Hnan ”3- is burned and Shana. l HM :._:. 5:! i _._-_-_-_4...--- I 3:. :._.: FMS Resurrccflon. La‘hn :H'H‘ CCn‘i’urY Rcv- cnartcs Wcs\tv do. - Sus mm is Hsen To - da v, our Tri- um - PhanT ho -- LY da v. who dxd oncc/ up - on Tim: Cross, SU+~ 4cr. +0 kt -.- deem our ’Lo 55. A\-— Le - Lu- ia A-nnen. IIIIIIIIII1+A444:II.Iilfififlaqi.:.i !fifi4a4:i:::.lfififiaaa.l :flflqfi_ liaafi_.l eaa._ a...“ ,,,‘d g,,,# :Z: -va—b' ‘ V‘s-6‘0“ In Joseph’s LovelY Garden bv Clarence Dickinson In .105 -e.Ph’s Love-W Bav-den fhe Lord ChnST'STomb was made} And There HlS bro- Ken bod- Y To ms? was genT-W 12nd . A great? rock S+ron8W Sula! - FT, Tha‘f‘ bca+h mugM‘ have full Sway: Bu? God sen'l’ down Hts an- Bel. +0 roll +he 'S'hne a -, way. when dawn was {atnT-LY break-m3 A- cross Tkegar-den éa‘r, Three wom-en en-+e'red weep- m8 Bear-mg smc-es rare. Then SPaKc The guard-Kan *0 an ~ gel. In Shun-mo ral- men‘l' hrlaln‘l’: l-le whom ve seek \S US . en. And dea‘l’h ls van~qv1shed A 8ul+e 0 an - gel of ‘l’he’ (gar ~dcn De - scend To US To - claw And eom. {or‘l’ all our sad mess , And drlve death's fear a- wAy. We all are ear-row 1a - den.SPea|( +0 our near'l’s we. Pray, “He wnam Ye love IS HS} en. And .lwes Wl'l'n Chm‘l’ al - wayl " l l lllll lllll lllll lllll lllll lllll lllll lllll lllll lllll lllll I Know MY Redeemer Lwe‘rn From “The Messiah" bY G-F- Handel I anv Tnal vnv Re- deem - er le- C+hl and rna+ He shall Sland a‘l - The La‘l‘ -—--—— 'l' fir *-—- claY Cal+h 1 I Know Tna'l' WlY Re?» dav up- on The ear‘l'h I UP~ on The ear'lh, I Know —» -—-——~ Tha‘l‘ vnY Re '- deem ~er le- e‘lnl and l-le Shall Sl'and '-" a‘l fhe Lal —-—+er dav upon The ear'l’h; eav+h 3 de- And ‘lhrough worms s+rov ‘l'hlS .bo - dY , Yel’ (n WlY flesh Shall I see God ; Ye+ lh WW He h shall I - see God. I Know Tha‘l’ WlY Re - deem -‘.er le.e‘l'h. And Throuoh wovvvns de- S'l'vov ‘l’hls loo - ’ dY; Ye+ ln vnV- lllll __ __,__~__+__—-4—————~—~—~— émsh God. Vel- 5&0. deem- For frond The Them 04 Shall m El” WlY I SEE {Lash 60d) Shall Know how l8 dea llrs The? Theno The+ le-e+h Chrls‘l' d l 60d. I — Shul I see mv Re- Hs-en ‘l‘ “" ‘l'r‘Ul‘l’S of sleep; +ha+ __h_._ ____—~—.——- HHl lHH lnH HHl lHll lHH HHl ,Hlll +lrs+ *"*~** fruf+5 of fheno +ha+ SLeeO, +0? how 15 Chrm+' Hs- en lwr now ls Chrls'l' Yl‘b- en {ram The dead l fhe {lvs‘l' “Rolls 0+ ‘l'hEn’H 0+ .4 Thevn Tha‘l' SLeep. -..—..-_¥__ _.____ _ ._ _. 7__‘__ __ .A.._ H, THE PERRY PIC'URES. 3209. 1'«”1"”’/’l”"1'- BARRlAS. BOSTON EDITION. MOZART. Wolfgang Amadeus onart {1756 - 1791) In the little town of Salzburg, Austria, nestled down at the foot of the mountains was born in the home of a musician a little fair- haired boy named Wolfgang. His full name was Johann Chryr>vrm Wolf- gang Amadeus Mozart, but we shall not try to remember all of that. The baby's father was an organist and violinist at the palace of the king. His mother was a beautiful young woman, and Anna ksria, the older sister, was the friend and playmate of the little boy. Child- hood in the Mozart home was very happy. Nothing was too much for the parents to do for the two children. Little Wolfgang was especially fond of his father. He never went to bed without giving him a kiss on the tip of his nose and singing a little good-night song. He used to say "Next to God comes Papa". From the time he was born there was music in his life, for even when he was very tiny he used to sing a little march as he would put away his toys at the end of the day. One day when Anna Maria was taking her piano lesson little brother surprised the teacher by playing one of the exercises — and he only three years old! At four years of age he began making up little pieces for the piano and playing them in public. When Wolfgang was six, he and his sister were taken on a long tour by their father to give con- certs. While in Vienna they were guests at the court of the empress and emperor. Little Wolfgang played for the empress, and then all of a sudden he climbed up into her lap and kissed her, saying how much he loved her big house, which was the palace. This pleased the empress very much, for usually people were frightened of her. They became good friends and had many happy times together. Marie Antoinette, the \ empress' little girl, who one day became the Queen of France, was just about the same age as Wolfgang. They used to have fun together sliding on the shiny, slippery palace floors. Cnce when they were playing Wolfgang slipped and fell. Marie helped him up and he, in thank- ing her, said, "You are very kind. Khan I grow up I shall marry you." She might have had a much happier life had she married Wolfgang, and probably would not have had her head chopped off. On the other hand, she would not have been the Queen of France had she married Wolfgang. The empress at one time was so pleased with T-"olfgang's music she gave him a gold watch set in diamonds. On one side was a beautiful portrait of herself, and you can be sure the little boy was very proud of his treasure. The Mozart family traveled much in those days, for the children were very pOpular and had been asked to play in many countries for all the kings and queens. Wolfgang not only played the harpischord, but also the violin and organ. It became the custom for people to ask him to make up music right at the moment. This he would do very obligingly, and in turn Papa Mozart would be handed a purse of gold, a precious jewel or some such reward for the little boy. In England he even played for the queen's singing. She was very pleased when he politely told her, "Your Majesty's voice is very pretty." One day while in Rome he visited the Sistine Chapel, where he heard the choir sing some very beautiful music. He was so impressed he went home and wrote out the music by memory. It was a rule of the Sistine Chapel that only members of the choir should have the music. it was really very wonderful for a boy to have written the difficult music by memory. In fact, so wonderful the people could not believe it was true. Finally some of the friends said, "He will have a concert and see if Mozart can remember the music correctly." The concert was held. Mozart sang from his own c0py, which was perfect from beginning to end. Once when Nozart was giving a concert, the people became so ex— cited about his music they believed there must be some magic about it. As he played they noticed a ring on his finger and believed that was the means of making him play so fast and well. They whispered so loudly about it Mozart had to stop to ask them what was the matter. Lhen they told him, he just smiled, took off the ring, and went on 0 playing just as well without it. When Kozart grew up, he married a young woman who was also a musician. They had six children, four sons and two daughters. Their life was very happy although they were quite poor. Now Mozart earned his living by giving piano lessons and writing music. People loved his music, but they did not pay much for it; so Nozart had a hard time getting enough money for his family. It was quite a change from the time he was a child and received so many gifts for his music. Mozart was still a very young man when he died ~ about thirty-five years old. He seemed to have a feeling that he was not going to live very long. The story is told how one day a stranger knocked at his door. He was a most mysterious fellow dressed in a black cloak and hat. He asked Nozert if he would write a Requiem hass for a few hundred dollars. The music for a ”equiem Mass is what we call "Funeral Kusic". The stranger said he would not be able to tell who wanted to buy the music; that must always be kept a secret. Nozert thought for a moment and then decided he needed the money so badly he would agree. At the time he was busy with other things so put off writing the music until one dew rm felt a tap on his shoulder and +hnro steed ‘ ‘ the stranre man in tlack asking in a cold voice, ””here iQ the I" V 3 r.-' ‘I. CC ‘? " u ..e‘. I“ w. Ys\n.~%y ~. . ‘1 ‘t\ ~.‘ 1 . ‘- -'-: fl ‘ Q “v A . ' N. "-‘.+ ' .V Y" f‘ (‘1‘ U. l 91.. [.aw. - J ._'.J‘7 _, ‘s H.153 “Ct. ..p ‘f. )1-..'_- .‘F* L31 Will H. ’. L! l v , .l .t' "31-3 . - ' 3 v ' _. 0: Put t”? had a rwsouliay~ feelirV‘ about fire n:u1, and twvrqi to vxwrrv atmnfi. v M him. He tOld hiS‘wife he Felt as if he were writinj The funeral maelc _J .0 for himsell and that the man was a caller fr>a the land e1 death coming * . to get him. he was never able to finish Th‘nueio hecauee he became ill 0 ‘V While working on it and turned it ever to a pupil of his to finish. Years later it 'as told the man in black was sent hy a dishonest count to buy tho music. The Count intended to put his own name on it 5nd meke people believe he had written the music himself. it rained so hard the few friends who Sn the day Yoawrt was buried, wished to f3 to the ceme*ery turned back at the city rate. There was no ~J mone" to hire carriages in which to take them. So notod" followed him ‘I .d d to his grave hut his faithful little dog, who sloeued throuvh the mud and snow to h“ Present when his master was buried. new, howevrpg things are different. People from all over the world travel to the little town .. g I of Salnburg to see 1“here Lozart lived and to climb the mountain hehino the y town V“ere it is said Hovart often went to write ris beautiful EHClC. r ' . I O 1 0 tod0 02:2.(l ECER m_I QZ< HmIKLQ NIL. MOTHER OF THE ARTIST AMERICAN JAMES MCNEILL WHISTLER (1334-1903) LOUVRE. PARIS us © ART EDUCATION. INC. BROWN—ROBERTSON CO.. N. Y. PRINTED IN U S.A. UPGPlee ”esle* (17“? ~ .. In tpllinj Infill Cf‘.‘ "lr‘h’n E‘HT‘IH‘Ahlnl Hl‘nlll'r. Yerlefip I am almes+ campelled tn nake it a family. fer flew: lives C? --ll Of ifs metal ("3‘5 8 :ef‘ee r it“. i '31]. __ frandfqtherfi, f’itJ-‘i‘ET‘S, Th??? were meinlw their feuili seme fhi.:s. mueie. lived in Ynflend, 5'; 0 ‘g I 1"! Fe sf Cl C {the c'mzrnh, x " '3 T" " ' f“ f i he .. 03?- Sl 9" v 9891; tied to- Q I ..L hard to seeerate one from anather. Fer many veare thev ' ' t i > _ V ‘ ' ' u ' V n8 - seercd To Te in+erested in tFe - o w o q In +he heme wnere k“vies. wee h*“n * ere Vere h19“i9(n Orilfiree. a . ”keeles wee +he eifhfeenfh “D” +‘? J‘Hn*eef Sin. T\ee tFut eeem liwe a very u y “w aer war a Finisfer, a :r:i,~ fail“? iii-«d Teen l‘w’-x"«fl‘e him. 7"“? f‘?“T"’1L“-Y‘ was: :1 very fine \e':.‘>yvun arid Fri-rm ler etrfire liiVL +efciij1j and t rainirg; her'cfizilfirwni. T'IHL-‘h ChflT‘lee War; a 1’13}ng +3”? feiiilj L"‘1"3 :1 nee-7‘ '1‘r‘";':'f’«;.'. r: 31‘“? l‘l‘ifl'“ out r‘fle Ifik”‘+ FINGJ: Pit/"i": l."CiY‘ Mari"? Fiffi! CLLU'FC‘I‘T. 1* “$14.5 Only Tl"Y‘O‘?;_f-H the ‘TuiCk ecflons of TleT°IPPFQP“HEf .bAPTee and 1}nvxvcw}wer cf fie liitle T‘er-zleys were seven. fer she. hereelf, cnerfed fhem from f7e bmrnin: anildine. v A Clise friend and ccnjanimn_tm iPefilee was Fig elder Trwther, Jehn. There was nvt much difference in iheir a;e<, se +¥eg fl“:9fi tegetkvr es ‘ o Cnijdren and vanmd tufi‘tb P re xen. At the ?“e of eirht veers 73erles enfered We ‘st a hrirhf he" find even hecw*€ 9 Yinr'e ?Ch Fer P‘ .‘fi ‘,..,. , n ..4 +L .2 ...: . . .u -., 2,. + value .13 we zany: ,» are” em,» ”mm “W A J u» 0 O ’1‘ ‘vfi?% in ‘15 SiUdTPP. later »“a?]es was elecfed t ‘;‘Tl““f3.. 1:? tvu.; a "l JCF'T ix?" erid 139445 i'“ fi *if 3“ 4 H ‘4 y.“ a - . - " V 3 ‘ ~ "It, . , ""5 l.e.+ F‘T‘ }\<=e?*ar"‘* . -:ee 2 "1‘]. 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T“.Y . 17' Lall".: C" Q i I x I a .. ... .- - 3'1’1: .. 9: vv . .- 7 yr. ' I‘ - . -,+- !T ..r ( ‘ {t‘pni‘pj 'r r u, , u ~ '10 u -. T "F .. Wr-fr ~ 0 1 1 7 _ ‘ ~ ‘. , , - ,» . ".3 i \ 1’ -‘\ U" The. Vtr8m’s SLUMber Song bv Max Reeer A- .mzd fie. ros -€S Ma- rv sds and rocks her Je - Sus- Child: White 5 ~ wud Hm Tree - +095 S|8hs fie. breeze so warm- and wuld And 30H and Swee+- w SlhBS a burd - up — on +he bougk'u M: be - bv; dear ———-—- we, SUM -' bar WOW. Han-0V \5 TM Laugh- Ter ho-lv ls-Thy HM ;! Sf— Levfi res‘h Lav ThY heaa m S\um- ber fond-H rm. TM Mo+h- er's braaS‘T Ah; ba- bY , dear -- cm, A slum~ bar now! ...—.-..-_. ---r , A ., , :Afi - s? -' . ~ 1' .. 'i‘ . .l ‘. __. .r- _ ' ,...' 4., m a v}? 5-. SISTINE MADONNA ITALIAN sumo RAPHAEL (Hos-1520) DRESDEN GALLERY ART EDUCATION. INC.. NEW you 14 © BROWN-ROBERTSON co.. mc.. NEW vonx PRINTED IN U. s. A. ///~, ,/,,# __ ___ EEEEE E\EEE “A“ f‘ A“... \\\\\ \\\\\ EVEAE \\u\\ Ju5+ Before The nghTS Are LrT bv Carina Bra nscombe. JUST be - J(we. The Lrghrs are. UT on mr ma'rh - cr'S Lap ,1 SW. -— Then we. sptak o4 men - Y Things. some-Timesfloo She. 50H - \Y- sings. Mo'rh- er’s arms are. sof+ and warm Ho\d - ing me- all SHC from harm Jus+ 'Hw. war +ha1’ Mar-Y rmH HEM her- 86mm Lov- m8 chdd. If I Trxcd. I’d nev - Cr find ’HH Ah - Y rm+h-er NH so kind. And She saYS There Could no+ be. Ah— Y 'Ldm He dar — \‘m8 HAH‘ - so dear as me. A HH NHL HM \HH '— -——mwr—.—-.—._i U++Le Lamb bY AMY \A/orfh Lr+-‘He Lambmko made rhee? bos+ Thou Know who a mmh mu} @mflmflflew bwefiw-hw on The Mochand o’er 'Hne mead :Gave Thee dork-ing H de- lroh‘i‘: soH-efi elofh-ina woo lv‘h bHBM‘, Gave Thee Sgeka Ten ~der valce; Maksmg 5” fine Vales re-dotee? L|+-‘H& Lambwho made +hee? A DOST ‘ku Know Wko mule +hee? f5 Lfiw+m me,Tu +UtTMu HH 1! L\+-."H€. Lambl‘U TeH Thee: He 18 call-ed' bv ‘an name, For He called Hum-self a. Lamb; He IS meekrand He \6 WM; He be—eame a LA. He em; I a ehrlgand You 5) Lamb: We are eaH-ed bv \ms nameer‘rxHe Lgmkfiad Mess Hnee ) L\+—+le Lamb.God bless +hee. \HH IHH HlH lHll lllll IHH HJH HHI _‘ \HH I o u 'i' Fprn'n a err2P11n. “or 5* y D r l r""f'Y ‘r’ '1‘; FV:ETI_T_ }~!'vv r1. fjtzr)‘ 1-xY‘—. 01:3 Fr,‘e, ‘3.icr\ F’t :1 Nejro Spirituels Some of the most beautiful music in the world is folk music. Nearly every land or countr" has its own rarticular folk songs and it is very interesting to know some of the stories about the folk son 8 and the people who have sung them. What do we reallv mean when we say "Folk Songs"? They are melodies that have no known composer. They are songs that have been passed on from person to person by singing. C'ften they had many verses all sun: to the same tune over and over again. Cur own country is very rich in fimerican folk music. Can you tell me what music it is? Yes, it is the music of the hefroes which we call Negro spirituels. Very often we think of the Negroes as a carefree, happy group of people sitting in the sun, eating watermelon and possum, but today we want to think of a very early picture of them anda very true one. In 1419 a little Butch vessel landed twenty African natives at James- town, Virginia. They were bought by the colonial settlers to become their slaves or servants. Can you imagine how frightened they must have felt in a strange land where they did not even know the spoken laniuage? they were separated from their few friends and put to work, often with Very harsh and cruel masters. These same slaves were the ones who gave US the beginnings of this beautiful folk music. In their loneliness the? found a great comfort in religion, so that most of their songs are of a religious nature. They song at their work; sometimes one of them would start the melody and others working nearby would join in or repeat it. Frequently we smile at the words of the spirituals because we think ”9-? smmd funny, but the:' were never meant to be Hm. way. The liegjr‘oes . . . , r A were always serious and often very sad and melancholy as they sang. rs we listen to the spiritunls we find they are the outpourings of all their troubles, the talking-out~loud or singing of the things that ...‘ worried them, or perhaps their greet fear in livinr in this new strange world. The spirituals are different from any other folk music known today. Cne difference is that they are sung in parts or in harmony rather than with just melody. The hegro seemed to have a natural ability to sing with his fellows in different parts. Often there would be a leader and the others would follow his singing in the natural beautiful harmonies - perhaps not the fornallfour-part harmony that we are used to, but never- theless, it was part singing. Some of it was called unison harmony be- cause the leadsr would sing the melody and the rest of the group would all sing the same part, but it would be a different one from the melody or lead part. As we learn more about African music we find that the rhythm is more important than the melody. There are two kinds_of spiri- tuals. The first one has a rhythm that is based on the patting of the feet and the clapping of the hands. "Ch Dem Golden Slippers" is a fine exaurle. hhen you sing that tune you ind it is very hard to keep your hands and feet still. The second one has a rhythm that is based on the swinging cf the body and the head, such as "Ewing Low, Sweet Chariot". This is a slower melody and somehow as you sing it you just want to weave back and forth. Today we will learn the spiritual "Sweet Little Jesus Boy". This is not an example of a true folk song, for we know the man who has written it, but it is patterned after the true spirituals and is a great deal like them. Sweef LoTfla Jesus BOY b»! Rober? Mac Gomsev HM an /T‘ swam Lot-He xii -flsus BoY doom 8 man—goo» SWCQT Lot-fie Hts-[Y MM.- ner mad \(ou be born- on AHJ- n'1' Know who You WUS. Bod-M Know You'd comeTo saveusLawdTo +oke our sons a-vy‘av. our 6ch wus him we, couH~ n'+ sec - we. doA- on"? Know who You /’3“- ’5 A Long Tom& a - go v You Wus bawn- Bawn m a man-gob Low- W n Swee‘t Loo-fie. Jes us Bov- De. worl' war You mean- A 6‘ /3\ Laud a Trea‘o me mean -Too / BUT Tef's how Thongs \3 down heah- we (Thatkj {have} (mo *MA—Hw‘v -_.;———_’; * ” ' ’3‘ don"? Know wko You \8. You done. T‘M us how- . oo - We o5 a 'th- mg? a» Mas “Mo You-done show’d us how- a - f5 Qb’ m when You's dy-m’. Jes Seem Lokc we Ran/do‘ 5 cam" 3 roghT pp Look how we heft-ed You. Bu? Please Suk MW 5 Lewd-we dld~ n’+- now’?was vou. Swee'f LrHLe ‘Sus BOY- A U . bawvx Long Tome 8-80 - Swea+ MW: Holv (Jule An' We a R dod- n’+ Know who You wus (\WASJ LLUL _ _ _LLLLLWAJ¢LLL_#JJJL ¥ _4 HIH lllll IHH IHH [1111 NH Hill Jesus Chnsf The Loud solesaan'+ooo< song Faor - 831' Lord Je - Bus , Ru‘ ~~ er o-E ' a\\ ma - Tuue. man The son o Thee. wiH' I. Cher - {sh o Thee wiH I *hovo - oor o Thou, mv sou\’s GLO~VYJ Jovo and Crown. A ~ man. Olill udqqu .1 II 4 .1444 2:. E: E: _:: .Z: .:: :E vv-v-T V ‘5‘! C' R S H I F John newton (1725 - 19(7) John Hetton wes born in london. his mother died vhen he was six yeeos 03d, leaving hlu a miserasle little boy who had to look after himself a great deal of the time. Fefore his mother's death she taught him the meoning of truth and honesty and men; passages of scripture from the Bible, for she was a Christien women. His father, on the other hand, was a rough sea captain. John went to sea vith his father at the age of eleven and remained on the water for ei;hteen years. These were years of stirring adventure, narrow escapes and greet recklessness. At the age of twenty-nine, John began to think of going back to live on land. He was tired of sea life. So he returned to Liverpool and begun to study diligently. He kept thinking of his mother, who had been gone for so long a time. The little verses from the Bible that she had tough him hegnn coming back to his mind. He finally decided he would become 2 minister and live the kind of life his mother would have wished for him. John wrote many hymns. Uften he used these in the morning ser- vices at his own church. So you see he not only preacred the sermons, but he also provided the hymns which the people sang. he was a strong men and enjoyed good health for many years. The hymn we are going to earn shows some of thet strength and joy in living. l‘oeither the words nor the music are quiet and soothing, but are rather active and marching. The music that we sing to these words was written by Joseph heydn, of whom the next story will he told. The neme of the hymn is "Glorious Things of Thee Are spoken". Francis Joseph hevdn (17? - 19V? Cnce upon a time in Austria there lived in 9 tiny cot1w;e a wheelwrifht and his happy family. There were twelve children and although they were very crowded in such a small home, they did not seem to mind. Cne could often see them plaving happily around the door 0? the shop where their father made wheels and carriages. .ne second child was 9 boy, Fr ncis Joseph. He was a merry little boy who loved each day, but espec1ally Sundays, because then his mother played the heeutiful family harp and his father sang in his melodious voice. “hen Franz, as he was sometimes celled, was still very young he went to the villnce school {here he he- ..J 7? come very interested in the teacher's violin. :e decided he would make one for himself out of two pieces of wood. This he did, and although it W45 far fnom perfect, it was good enough to keep time on during the fwnily music hour. V At the ego of six tne little boy went to Vienna to live with a relative. For three peers he lived there, doing his stuc during the week end sinoinj in the choir on Sundays. One day a guest came for dinner. fitter the meal the cousin Asked Frvnz to sing a little song. Now Franz loved to sing. He was never sfreid, but just opened his mouth like a little bird singing a spring song. The rue t was verv impressed end said, "I must have this little voice in my choir." That is how it happened that Fr n2 was sent to the fine school of St. Stephens, for the guest the+ day was no one else hut the choir master himself. Frwnz wes e heilthy, happy little boy find was very fond of playing jokes, pranks end all sorts of hogish tricks. he often.;ot into trouhle heceuse of it. Cne dvy the little boy choristers were h>Ving an outing. Frnnz was the one to clioh up hi host on the scwftoldin; “here workmen were reoairin' the relece. At that moment the Empress looked out of th: A \— & window. "flee thet that h“? Qplg ' ififid wtiypln’” she ordered. The \J royel commend was 0 rried out. At a leter time otter the hmrress had henrd Franz' lovely voice she Hid, "dell, young men, the whipping you * U) I‘PCC‘i vnd must Hunts: dance v01} 5mm: grand.” inrxtt'por gptjrhpdp rpgjlxr urrxt‘, 2. ... .g (r m». K 3.10 C 'n f) ’1 J) m into serious trontle. Tenn; Frqnz hed dceuired a new p15? of so and of course he Vinted to use them on almost enfttin: in reach. The thine closest rt hand wes the rieteil o? the he" who set in front of him. Fnie vent the heir' “is Wes one rrrnh to” newr end the Firestor of the school dismissed tin end sent him ewev. Tran? wee eshamed to return home, so he just W?ndered around doinf odd Fohs, runnin* errends, end l.’.~ S l . . . rho v 0‘ __-_ . a ., s eeoinf 1n fisrrets. ’hlS he din not seem to mind, for te w~s used to q ‘ V 0 u all EVWrtS. : Ven ttmrvvfi his st Yn33t~1w s efiiiff anr=ri 8 cos FJ. he? rf‘ini '39 0f - ., ‘ ‘threerthre he=1w2s not INfilQFh"} .. $Ij /. ' Q ‘ r _ ~ I V ‘ r ‘1‘ I, g u q 7“ ‘ ‘ .0 o 3 one an" we met a Sinrer ov the Lane 0. niceolo roreora, woo denioeo I . --- b o r u‘ ‘ ‘ ‘9" v 2.9 ne cculo use rrrnz as a veiet or servent. So for a wcile he mes busy ing his master's wig,end his music had to he done I J ~ pressing coets end our in hrtween times. however. the sin'er Wes wood to him and often had him I -_- L- I' ‘ I eccompeny for his pufils' lessons. inis geve Fr n2 some Very v‘ln file evperience end soon he hid some pupils of his own. 1 ‘\ l I" ' o u o o w ‘ ihere was a ricn heron liVinc nesrh; no? vented a contuctcr for the Trivute orchestra in his castle. Franz he rd about +30 position end 5““ aided he wented it... He steved there for same time and res veryr success—- ful. His nest move took him to the l rje country estate of a Fohemian 'mwn where he had thirty excellent mHSlCi5N9 to pler any music he L3 ".3 ’V" g“. l 3 wished to write. his third end lest rosition was the most infertint of ell wno wes et the nelece of fl rrince. There he lived for thirtf veers hurnv end content, and e rnine r"mt-"1+”; of monev while he res doin" the nork ¢ .1. a u - O ‘ ‘ . ‘ . he loved to ro. tlfifh “no 1””ens from etn»r Cs“n‘ries were '“ften toe u. J w 1“ '? f'“ 1‘; 'C. Fw 1"ir “n ’"Y i' ‘1‘ ?" :“ifiCw 'r la ”F”“l'” "PV'F:° f““ RHVQ °”rt ¢f Q naviv l C‘hv‘“+. If P‘: 7r7n7' :fi‘ #5 *r'in +;=u, v* n T"‘€ ' n.T i?-. vnngu}«‘rc; nt‘ *‘{9 OVHTVM3“1.Pé-; 1'? s 0%) t"~1, f‘lwl r ‘Vi~js Warn all frsSFlj 0“"1wfi :3“ tfi~r ILLir n:nncr< wwre f79~q ht. 7V6 yrinco Invrfi musiv *nf v-e dnli;“*9d le'fs alffi 1r“ yfirV 7r u: did fbr him. 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Jean Sibelius (1865 - ) Cne cold December morning in the little town of Tavastehus, in Finland, there was great joy in the house of the town doctor. A son had been born, the first boy in the family. The happy parents were Dr. Christian Sibelius and his wife, haria Carlotta. Two years before, a little girl, linda, had been born into this home. The baby boy was named Johan Julius Christian. His little friends always called him Janne (Johnnie) and the name by which he is known in the music world today is Jean Sibelius. He was named after his Uncle Johan, his father's younger brother who had been a sea captain and who had died two years before Jean was born. Jean's father and mother were of both Finnish and Swedish descent. The father's family, which was Finnish, settled several years before in the Swedish town on the sea coast. The town was named Lovisa after Queen Lovisa. The mother's family was composed of both Swedes and Finns. They were scldiers, government officials and clergymen. Jean was a normal little boy interested in all the things little boys enjoy. de was used to hearing music in his home, for several members of his family either played an instrument or sang. His great grandfather played the 'cello. As a child Jean liked to sit down and try to play the piano as most children do. He began his first lessons when he was nine years old. It was about this time that he began to compose little pieces. The first one was a small piece for hello and violin. It was played "pizzicatofi which means the strings of the instruments were plucked by the fingers rather than played with the how. He called this piece "WaterdrOps". He seemed to be fond of pizzicato playing for in nearly all of his seven great symphonies that he wrote when he was a man, we find much of it. Jean‘s father died when Jean was just two and a half years old. He was too young to remember how his father looked or much about him, but somehow he seemed to be able to recall the feeling of nearness to his father as he sat on his knee and looked at picture books. As Jean was growing up he listened attentively to every word said about his father. ~r4e had been loved and respected in his position as town doctor and people were el“avs speaking kindly about him. It wasn't long until Jean felt he knew him just through the words of his friends. The little boy was brought up by his mother who devoted all her life to her children, tr ing always to make a happy home for them. Jean spent much time nith his :randmother and his Aunt Julia, with whom the family lived during the winter months. In the summer they returned to Lovisa to spend their vacation ties at the seashore. Jean was a great lover -f the out~of~doors. He enjoyed playing at the shore or in the woods neacby. He had a vivid imagination and used to amuse himself by searchinj for fairy creatures in the darkest corners of the woods. Often he would think up witches and goblins and then would come running out of the woods at top speed. He was very fond of pier acting and was often the leader of his playmates in the usual weekly play they enacted. His favoriterart was that of a king or a knight. At other times Jean was a great dreamer. he would sit for hours watching the setting sun and the clouds around it. Yo doubt his mind was full of fairyland pictures that he was able to create for himself. When he was fifteen years old he began his first serious music study when he became the violin pupil of the military bandnaster. Dur- ing the summer months we are told how he used to spend often entire days and nifhts out in the woods or by the side of a neighboring lake playing endlessly on the violin, *ryin to frt into mveic sore of the feelines rantnre give i“ him. ii VHS at this i'irme that he h" 0'er t0 flat" the violin in th school orchestrs. Hie trnther, Ch~istiwn, played the t’D I ‘ V j ‘7 O ‘ . ‘ ' 'r- II'IC", 3212:;ij imp "];«J‘,:\ 9’) 177151“? were IYLv‘I’l . O 7-1. '0 -+ 3 1 cello, and his s hsorv hours et home enio"inf mnsic to’ether. U V so i . \4 A fi’a ghen he grew to young nfnhood dean errolled *t the University to l A stud" liw hut this course did not hild ris interest lenj. he soon C?V9 ‘ 0 up everything to study music. Fe went to rerlln and then to Vienna where he might heve the help of fine tenchers. While in Vienna he live” next s o w door to the house where Christopher flinch lived when he yes a yonnfi man writinl “P“rse in Vienna. Di XHu renemher our stories of Cluck end 1 “'ccinni? All the time in Vienna he was hrSX Flfifinj, teaching, con- ‘- ‘5 t-wh duetin* end writing music. The Finnish wovernment wes so proud of his .1 ‘ fine music they decided to five him an allowenoe which would teke cure of his needs for the rest of his life. In return he woe to write heqntifnl mrsio for Firlsnd. lhis he did and is still doing, for todiy he is slive and husy es elweys vith his music. Cf ewnrse, he is en Tld mvn new so he is not as active es he used to he. He lives in his hemeu ,. sibelius and their grown children. 'J J ”I; p. r‘+ 3‘ * s I] orchestra, find for yeofle to sin' The hyrn we will lrhrn today is a part of the music called ”Vinl“ndie." In 1993 the reorle of Fin19nd wished to show thvir srvreoi‘tifln to all ’ A L A s w o 0 those who hen helped Finland in its years of "rowth. It was e mfrictic ... D o 1 . o T eelotrn+ior and was o lled the "Press Jelehrations”. ween rro O 0 w ! etrsti n. 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F " q ’1":‘+-\‘ 19 - 9 )0 “' E“ F H' . ‘:, - : .* ‘ wr' l1 1 L\ -1: f -‘n«1.m,,4:, r * . 'thu an, v. .Pc “hL‘riAL‘l :ualc , _ ‘ -- a -, \A‘. {L r,. {:3”{§7. IV: _ - _ V- ~ ’ : r o , n, 1- V, V' ,_ ' ‘f - ‘ ,'_A '.T , . -;¢~uf. H'Hnn. "u~<;c 1 szur cf +uw J4+H4110 wll 1~n” wrf 7. .— —‘ -« . ..‘v v . rm “’3. . {7-9'3'4" , "d 'r. -"n i .1 -.. "‘is“"r"'? nvgfli 1- . " N ;‘ ° -:1. Wm.“ “.. a " : J V . -r43, ”DCll. .; ‘alua, \«fhrn LnLvarL1+g Fwwsw. . ivnvo. ianvap. rsés:mw “" unppevavpn". v-1. 1. rb. ¢;»_\ ‘.F?T*%.?. The Vikinv FrFss. Julian, ”'an‘”**. 70V. 1d., J“hn thr * Publifihch, Innn“n. L'-rf.in Luther”, pp. 399-395. "Cf Pirnprd" Ph. lfiév7’7. "The Vzcley rnLllV" “F. lu55wFQAA. Vin 1-, C‘hannnpzr Pyrmn, f‘-"-""-‘.‘:’.‘"1. 1"?"7‘".‘""‘“ «T"“?"I".".:"., "‘0'er Thonfpfs n 3 . "u :v\ ‘\I' .3 on ucnruc11n ', unn., lfhf. l i ‘L (V .. I «1‘ n‘AA \ an ' . I" a-r‘ f‘ Krone, max T “Vw .r rte «r3 1%? afiefl g+-?. Tillie. Iucy, The 9+Ary A? Eucic nnfi Pncini~ns, Hsrrvr Pros. Pfisnn, Bfinifll 3reran, Thnmrscrs In+nwrnfiflnal Pncfn‘nfipdi“, "mscheikovsky", TP- 2u5_1171. Ichanie, Duncwn, FUCifl in tkp Junifir ”3“% Pchdfll, J. H. Baht P POns, Toronfo. Fendejs qsmhn, Felix, lpttors, ed. by 3, Seldom Goth, Pantheon POOKS. Lursell, James, and filenn, Wbel 39, Th“ VF"PPP7”EV 0f V”Sic: Chgjfc 2, 3, A, 11, 1h, Si 1V ver Purdetf CO. Kursell, James, Tnsic in fimwrinrn Schnnls, °il-ver Pnrdett Co. Chiapt, . 1;. ‘« Fnc~clnfiwdfia :rit;nr142 13th Fdition, Philips, Walter Adison, V701. 3, TFO 796- 7(280 Ficard, angcloEedio dc 19 Musiqpe, "Husic of the Protestant Faith", F}: T1. 2 , VTC'l . 1‘, If). 2j99-2/+I+LI> o Planchet, D. C., rvrvoWnredlo (ie 33 AU inne, "L'art Eu Laitre de Chapelle”, Part 2, pp. 2330-2 -3 Feimann, Hugo, fusiklewikfin, ”Haydn” pp. 555-559. Parke, Genevieve A., Choral Jpncaihi; P211 P JC‘ 1 Snobay, Vn,nrine Inis and Horne, Clive Frown, Pfories 0f Creff " a a A I" Lnslcl hs, awcricnn Eock do. I 7' x V g 0-) _ ‘ A _/ / / Schmmtz, awrv 1., T‘Ide, Vol. AC, pp. 1N, Q3, 2h 2, ASP, 51?, ?1b, "F101““p15011 Catecism of .u -iCL1ns". \ flusic", pp. ,' (31 holes, P9rc", pr’rd C wm‘nri n Zhu:ic nurch 165—16,. Oxford University 1ress. "H ,, I, h. '7‘ 1 \ 'vns und Lgmn Lunes", pp. hh?-h€?. f‘ . A. ' w ‘9'. ‘ 9 :- . n r‘ar Y . ‘ Stsr1»s of '1€;t yn51014ns, \Aford Lnlv. Press. Seashore, Carl F., In C99rnb of 992*" in Hvric, Ronsld Press Go. Spaeth, Sigmund, Stories Pekino tre World’s are t Kncic, Whittelsey Uruse. Taylor, Deems, Cf F9n 9r6 TH9ic, Simon & Schuster. Telford, John, I: vo‘onefl‘9 Uriffinrioa, 11th Edition, pp. 527—‘32 "The He 16 r Fimily.” V01. 27 two. .orne, Pengt d9, Sirelius, A 319se~jg, Faker & Faber. *‘ O Tovey, Lonald Francis, E99391999di3 ~ r:+ 9rnio9, 11th Edition, pp. l2h-130, "Johann :ebesti n bach." V01.3~h , "Ludwig van ?eethoven", rp. Shh-651, ‘V'OJ- . 3-1; , "Wolfgang Uozart", pp. ?L99952, Vol. 17. , "Christopher Cluck", pp. 133-1A1, Vol. 12. , ”F91 i( J0 Woo lkendelssonn", pp. 121-124, , "George Frederick Handel", pp. 910-915, , "Peter Ilyitch Tschaikovsky", p Tchaikovsky, Peter Ilyitch, Th9 Di9ries of Tchaikovsky, edited by Lakond Vladi nur, W. W. . 0r*_on « Jo. estermen, Penneth 1., :99“*v91 Joice , Chapt. 12, Published by 77 \Y V' 1‘...‘ o " 0 , ‘nnn faI‘bOI‘, I‘lliCIIi W'L"’n. Wheeler, Opal, lufiwij Feotkovrw, E. F. Eutton & Josenh HEIdHL,ThPVV6rTY little P999ant, E. P. Button Co. , F ch, The Pay From Thuriniia, F. P. Button & Co. , F999rt, The Fog ”onder, E. P. Lution & Co. 90. 91 ¢? \9... Williamson, J. F., V99r 99k V C ” U Vol. 2” na‘e 296 10-. o~_;, ”VOCil Tecim m1 ue for the conductor." _ t T‘ -,‘. ‘r f‘ h' a Y" ’2 , Y Iva‘ ; ‘5! "b‘k 9 ~ 0 9-3 0 - . \J o , V '41 O ’1’ If": “Zechnique of Chnrwl ffOCEdHFG." Van Loon, Henrik Til 19m, The firis, Simon & Schust9r, Chapts. 3?, 1+5, AC), 53 t , Joh9nn Vehfisfinn Facn, Simon & Schuster. ‘. o 113.“- .-‘_~ ‘11 HD1130??? Voseller, Elizabeth Van Fleet, i "?19mingion Children' s Croir”,19y, 1719. I fist Delafield, .usic in ’mwri 9n Life, Chapt. 15, ixford Iniversitv h, :1 'r II‘ ~.ll|l|\( I.i {I‘IKu/I‘ III: .(‘ [all]! .1“ I.“ 3111f?“ ' ““ 9 ....p. n .,_; .‘ ‘ ‘ - ..n-ID‘V .—l— . ‘13:? I §.g\§ u.’-I|.l.l1l|u.!.....‘¢ll‘| u. . IIIIII “ W“ “11111 11111111311 “ ”'ifimm 3