These are the hymns that are sung again and again, beloved by all, sung with gusto on Sunday morning and hummed throughout the week. Beautiful Savior and Other Beloved Hymns by Kevin Hildebrand, has set these twelve preludes in interesting and varied ways. These include “O Come, O Come, Emmanuel” featuring an accompaniment with a strings stop that is drenched with longing emotion, and a toccatina on “Holy, Holy, Holy” that is fun to play and would function as a great introduction to the hymn.
Beloved Hymns
This collection of twelve hymn preludes features hymns that are popular throughout the Church Year in many congregations. These include seasonal staples, such as “A Mighty Fortress Is Our God,” “For All the Saints,” and “I Know That My Redeemer Lives.” Other beloved titles that are suitable throughout the year include “Beautiful Savior,” “Holy, Holy, Holy,” and “What a Friend We Have in Jesus.”
Since these hymns offer a representative sample of hymns for different seasons, this collection will be useful to organists all year long. The church organist should have it handy during Advent and Christmas as well as Lent and Easter and can find something to play for funeral services or other services week after week.
“O Come, O Come, Emmanuel”
Hildebrand’s prelude on the ancient Advent hymn “O Come, O Come, Emmanuel” begins with an entrancing solo line that lilts above a pondering accompaniment in the lower voices. This solo line could be beautifully illuminated using a mutation stop (for example, a 22/3' flute) in combination with an 8′ flute.
The hymn’s melody is interspersed with this solo line throughout the prelude. The manuals feature the melody with accompanying chords in the same registration, preferably a luxurious combination of strings to complement the ritornello (returning) solo line.
As the prelude reaches the hymn’s refrain (“Rejoice! Rejoice! Emmanuel shall come to thee, O Israel”), the organist can judiciously add to the registration as the score indicates before retreating to the originally subdued registration by the end of the prelude. This arrangement would be fitting when a longer organ selection is necessary, perhaps as preservice music or at an appropriate time during the service itself.
“For All the Saints”
Hildebrand’s arrangement of the treasured hymn “For All the Saints”—the battle cry of the church triumphant on All Saints’ Day—is set in 12/8 meter. The prelude begins with a lovely sequence of ascending fourths that functions as a ritornello throughout the piece. The ritornello is played before, in between, and after the melody’s phrases.
The hymn’s melody is played in dotted-quarter-note values in the tenor octave. A warm combination of principal and/or flute stops to balance with the accompanying treble and bass lines would feature the melody well.
“For All the Saints” is a hymn on which there are plenty of boisterous organ arrangements. This prelude, while still plenty exuberant thanks in large part to its meter, offers the organist a somewhat tamer option for a hymn prelude on this beloved tune.
“What a Friend We Have in Jesus”
Hildebrand’s prelude on “What a Friend We Have in Jesus” is a gentle and delicate treatment of a hymn beloved by many in our churches. This arrangement employs the dotted quarter note–eighth note rhythmic pattern of the melody’s first measure as a motif at the beginning and end of the prelude, again in ritornello style.
This arrangement would be fitting for any service during which the hymn is sung, but also on any occasion when it would be received with appreciation. Organists should strive to know their congregations well and, while leading them toward steadfast hymn repertoire, should be aware of the hymns that have shaped the piety of their people.
Play this collection of beautiful preludes during the year at your church by clicking the button below and ordering a copy.
