E’en so, Lord Jesus, quickly come – Paul Manz (1919-2009)

Click to watch the video on Youtube.

According to his obituary in The Times, Paul Manz ‘enriched the world of sacred music in a wide variety of ways’. He was a noted American organist, teacher, lecturer, conductor and scholar, as well as composer. For several decades he served as Cantor at Mt Olive Lutheran Church in Minneapolis. Written in 1953, E’en so, Lord Jesus, quickly come, this morning’s communion motet, is probably the most frequently performed of his compositions; it is estimated that over one million copies have been sold. It has been performed frequently at the Festival of Nine Lessons & Carols at King’s College, Cambridge, although its broadcast by the neighbouring Choir of St John’s College in its Advent Carol Service precipitated its popularity.

The text, which was adapted by Manz and his wife Ruth from Revelation Chapter 22 in response to a serious illness suffered by their three-year-old son, is set in modified strophic form, suggesting the genre of hymn-anthem. The principal theme, which frequently appears in imitation, echoes phrases from Lutheran chorales—most suggestively, the opening line of ‘Wer nur den lieben Gott läßt walten’. This is unsurprising given Manz’s abiding interest in Bach. The piece begins in B flat minor, but turns at the end to D flat major—surely reflecting the move from darkness to light celebrated in the seasons of Advent and Christmas.

Peace be to you and grace from him
who freed us from our sins
who loved us all and shed his blood
that we might savèd be.

Sing holy, holy to our Lord,
the Lord, Almighty God,
who was and is and is to come.

Rejoice in heaven all ye that dwell therein,
rejoice on earth, ye saints below;
for Christ is coming soon!

E’en so, Lord Jesus, quickly come,
and night shall be no more;
they need no light nor lamp nor sun,
for Christ will be their all!

Gerald Harder

 


Organ Concerto in G Major (BWV 592,1)
– Prince Johann Ernst (1696-1715) / J. S. Bach (1685-1750)

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Prince Johann Ernst of Saxe-Weimar, a talented musician and composer, was known to be an avid music collector who in 1713 introduced his teacher Johann Gottfried Walther as well as Johann Sebastian Bach to the concerti by Antonio Vivaldi. Both Bach and Walther transcribed different Italian concertos for Prince Johann Ernst’s instruction and enjoyment.

Through these keyboard transcriptions, Bach gained an intimate acquaintance with the Italian concerto style of Vivaldi and his contemporaries. This resulted in sixteen concerti for harpsichord and four organ concerti, drawing on the original orchestral versions by the Italian composers Vivaldi, Alessandro Marcello, Benedetto Marcello, and others. Some are transcriptions from anonymous sources, one by Bach’s contemporary Georg Philipp Teleman, and four from orchestral concertos by the young Prince Johann Ernst of Saxe-Weimar himself.

This Sunday’s postlude in church is Bach’s transcription of one of Prince Johann Ernst’s compositions: a now-lost violin concerto, composed when the prince was not even 19 years of age!

PJ Janson