Are you a pianist, and do you love the Lord Jesus Christ with all your heart and enjoy playing sacred song arrangements?
Narelle is interested in working with an accompanist in a service ministry in New Zealand in the Tararua District.
Email Narelle at kyriellepublishing@xtra.co.nz
The director of the November “Music Through the Ages” concert has changed his mind about including me in his program. The saddest part was that he didn’t have the courtesy to tell me–I found out through a member of the choir after two weeks of phoning him and leaving messages which he didn’t answer.
Before I knew I wasn’t wanted, I heard two things via the grapevine: the program was now being performed on two nights, a Friday and a Sunday, and these dates were three weeks earlier than I had been told back in April. This made me realized I had to decide whether I would perform on a Sunday or not, and with the next two concert options open to me being Sunday programs, it’s a good thing I worked it through. My conclusion is that I'm prepared to do a sacred program on a Sunday provided it doesn't interfere with my Sabbath study. In this case, it wasn't sacred and it would interfere, so I was prepared to tell the director I would sing on the Friday but not the Sunday.
I also realized that with three weeks less to prepare than I’d planned for, it was doubtful that I was going to be able to do “I Believe In You”, considering I was struggling to produce a reliable top A. It seemed wise to alter my selection, so I chose instead Martin Luther's hymn, "A Mighty Fortress Is Our God". It's a song that seems designed for a powerhouse male choir, its plonky, definitive rhythm not suited to a light soprano, but if the Viking Choir is singing "Dona Nobis Pacem" and another Latin piece a cappella, I figured I could do just as well with the lovely tune of AMF. I studied the four stanzas from two different English translations, and with a bit of mixing and matching and a very tiny rephrase, settled on three stanzas that are reasonably easy to understand, injecting exhilaration by raising each stanza a semitone. Luther's hymn has been called “the greatest hymn of the greatest man of the greatest period of German history”, thus creating for me an excellent progression to J. S. Bach's "My Heart Ever Faithful". =) I’ve enjoyed working on this program, but I don’t know when I’ll get to share it.
I recently purchased a CD by contemporary American soprano Kathleen Battle and was delighted to find “My Heart Ever Faithful” on it. It has a continuo accompaniment (rather than piano), which makes it supremely delicious (I love cello). The first time I sang along, I got quite a high. =) It’s also inspiring to hear such an accomplished performer sing it.
Kathleen also sings “Du Bist Bei Mir” on that recording. I’ve procured the sheet music and have started learning Charlotte Church’s sacred version, “If Thou Art Near” (does anyone know who wrote the lyrics for that?). Dad was delighted when he heard me singing it because his mother used to perform it. He hadn’t known what it was called, but the melody evoked pleasant memories for him.
“I Sit Beside the Fire” almost got chucked from my repertoire in September. My teacher didn’t have the entire book of Donald Swann’s Tolkein arrangements, so the Elvish pronunciation and translation was missing. The English lyrics were fine, so I (foolishly) took the song on trust and proceeded to learn it. But as I worked on the difficult Elvish lyrics, I began to feel increasingly uncomfortable singing something I didn’t understand. I couldn’t delete the verse from the rest of the song because it was set as an alternate melody creating the song’s climax. I mentioned this to Dad and a friend, and they suggested I look it up on the internet. I had tried that previously, but had searched for the song title, not the Elvish lyrics.
Googling the first line turned up both a pronunciation guide and the translation, which revealed the song was a hymn of worship to a star goddess! Having just seen Louie Giglio‘s “Indescribable” DVD presentation on the magnitude and magnificence of the heavens created by our God, there was no way I could give credit to anyone else. Distressed that the Elvish words now seemed well and truly stuck in my head, it was dump time for that song until Dad suggested I rewrite the Elvish part. Bless you, Dad! I didn’t get any sleep that afternoon, but I did produce a rewrite that I like so much I’m prepared to make the song a Narelle standard.
I turned the Elvish verse into something more meaningful, managing to match Tolkein’s style and theme fairly well. Donald Swann’s arrangement actually blends two different Tolkein poems, so dropping the Elvish hasn’t created any great Tolkein heresy. It works really well for me now. The lyrics are so emotive and the melody supports them so well. I would happily sing it a cappella. Actually, I don’t like Swann’s finale, so I’d probably close a cappella anyway.
Interestingly, placing clean new lyrics over the bad ones is what has enabled me to get rid of the Elvish from my head. As I type this post, I can’t remember even the first line. I’ll leave it forgotten. =)
As it turned out, the director didn’t want to talk to me, so I didn’t have to talk to him. My preparations weren't a useless exercise, though, because I learned some important lessons. I hope you, too, have learned something from reading this. = )
A Mighty Fortress is our God
Martin Luther
A mighty fortress is our God, a bulwark never failing;
Our helper He, amid the flood of mortal ills prevailing:
For still our ancient foe doth seek to work us woe;
His craft and power are great, and, armed with cruel hate,
On earth is not his equal.
With might of ours can naught be done, soon were our loss effected;
But for us fights the Valiant One, whom God Himself elected.
Ask ye, who is this? Jesus Christ it is.
Of Sabbath Lord, and there’s none other God;
He holds the field forever.
His word above all earthly powers, no thanks to devils bideth;
The Spirit and the gifts are ours through Him Who with us sideth:
Let goods and kindred go, this mortal life also;
The body they may kill: God’s truth abideth still,
His kingdom is forever.
My Heart Ever Faithful
J. S. Bach
My heart ever faithful
Sing praises, be joyful,
Thy Jesus is near;
Away with complaining,
Away with complaining,
Faith ever maintaining,
My Jesus is here;
My heart ever faithful
Sing praises, be joyful,
Sing praises, be joyful,
Thy Jesus is here.
Etcetera, variously put together through nine pages.
I Sit Beside the Fire
J. R. R. Tolkein/Donald Swann/Narelle Worboys
I sit beside the fire and think of all that I have seen
Of meadow flowers and butterflies in summers that have been;
Of yellow leaves and gossamer in autumns that there were,
With morning mist and silver sun and wind upon my hair.
I sit beside the fire and think of how the world will be
When winter comes without a spring that I shall ever see.
For still there are so many things that I have never seen:
In every wood in every spring there is a different green.
I sit beside the fire and think of people long ago,
And people who will see a world that I shall never know.
But all the while I sit and think of times there were before,
I listen for returning feet and voices at the door.
Oh, who will sing my song with me? and walk this path along with me?
To see the flowers and feel the wind, to smell the sky and taste the rain,
To join our hands with tenderness and hearts with loving-kindnesses,
To speak the tears and sing the joys, and sing the joys.
I listen for returning feet and voices at the door.
You gotta hear those last two lines with the music…utterly haunting and gorgeous to sing.
Carolyn returned to Australia at the end of July and is settling back into home and church life. If you like her songs as much as I do, you'll be wanting the sheet music. You can order them from her at carolyn.ballinger@gmail.com or write to 3 Anaba Street, Toowoomba, Queensland 4350, Australia.
The lyrics for her songs are printed below.
ONLY YOU
You left your rightful place as king
to dwell with undeserving man.
Your humble birth in a quiet stall
was part of God’s redeeming plan.
Only you, only you care this much for me,
Lord Jesus, no one else but you,
And if I were the only one on earth,
Only you would have done it all just for me.
You were falsely charged and condemned to die,
yet the words you spoke were few.
Your only plea was to God in heav’n:
“Forgive them, they know not what they do.”
and many thought it was the end.
But on the third day you conquered death;
you rose never to die again.
MY CHILD
So many questions, so many fears, there’s nowhere left to hide.
So many doubts and countless tears there’s no more peace inside.
But you can be released, you can leave them all behind.
Just come unto Me and you’ll forever be My child.
Chorus:
I’ve loved you from the beginning of time.
I love you, even now I’m by your side,
And nothing will, or ever can separate you from My love.
You will forever be My child.
There may be storms and times of darkness, but you don’t need to fear.
There may be times of grief and pain that seem too hard to bear.
But you can come to Me, My arms are always open wide.
No matter what comes, you will forever be My child.
On March 19th, 2007, the Dannevirke News featured on its front page a quarter-page review of the St. Patrick's Day Irish concert at Dannevirke's recently renovated Art Deco theatre. The article was artistically written -- they have a new reporter who seems to have a reasonable grip on language and logic -- and the tenth paragraph declared:
I was quite overwhelmed by the response to my singing. So many people came up to speak to me. Strangers shook my hand. People gave me hugs (thankfully that lot weren't strangers). And my Dad told me he cried when I sang "The Impossible Dream". I was very happy with what I achieved, and that people liked it so much. And I was very, very tired.
After the show, I came across all that was left of Liam the Leprechaun...
This is my nephew Joshua in the winter of 2006.
