Helmsley

 

Descant to the hymn tune HELMSLEY. Free score with harmonized descant, choir part, instrumental passages, and SATB a cappella verse. Free score. 

The tune HELMSLEY, though usually attributed to mid-1700's figures Augustine Arne or Thomas Olivers, was actually in established use prior to either writer, already with one of several variants of the hymn "Lo, he comes with clouds descending." Martin Madan, the chaplain of Lock Hosptital, published it with this text in Collection of Psalm and Hymn Tunes Never Published Before (1763). It circulated in nonconformist (ie, non-liturgical) use until the setting was 'discovered' and reharmonized by Ralph Vaughan Williams for the 1906 English Hymnal, which has become the cononical pairing of this tune and text, providing it with the majesty the text demands.

In its current form, the text is an ideal Advent hymn as it recalls his incarnation and passion, before turning to the second coming. The text originates in a 1750 hymn/poem by John Cennick, a land surveyor who became a Moravian preacher. The text was adapted (and largely rewritten) by Charles Wesley and subsumed into the Methodist movement, the first Wesleyan version appearing in 1758. Several revisions and iterations of the text were undertaken, some by Wesley, some by others which have merged back in some of Cennick's original language. The exact phrase "Lo he comes with clouds descending" comes from a poem by Olivers, as Cennick's original began, in a different meter, "Lo! He cometh, countless trumpets blow." Because it was not an observed season in reformation churches, it would not have been seen in its time as an Advent hymn.

References

  • Glover, Raymond F., Hymnal 1982 Companion. United States, Church Publishing, Incorporated, 1994. Vol. 3A, pp. 106-110.
  • History of Hymns, UMC Discipleship Ministries: “Lo, He comes with clouds descending”, C. Michael Hawn.
  • Wikipedia: "Lo! he comes with clouds descending"

 

 

Updated (overhauled): Dec 2015, minor updates Nov 2018, Jun 2019


Set includes organ score for prologue and descant, with separate choir parts for the a cappella verse and descant.

DESCANT VERSE

Yea, amen! Let all adore thee,
high on thine eternal throne;

Savior, take the power and glory;
claim the kingdom for thine own:

Alleluia! Alleluia! Alleluia!
Thou shalt reign, and thou alone.

– John Cennick, 1750 alt.


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