“Ihr Kinderlein, Kommet” is a traditional German Christmas carol, published in 1811. Christoph von Schmid wrote the German lyrics in 1798, and they were set to Johann Abraham Peter Schulz’s 1794 melody. You can find one English translation
here.
I hope you enjoy this carol played on lyre, viola, and Oriole soprano recorder with melody and harmony!
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“Kommet, Ihr Hirten” (“Come, Ye Shepherds”) is a traditional German Christmas carol. However, it is based on an earlier Czech carol, entitled “Nesem vám noviny.” The melody is Bohemian, author unknown. Carl Riedel wrote the German lyrics, and the carol was first published in 1870.
The lyrics urge “Shepherds, men and women” to come to the Nativity scene and see the “lovely child.” They describe the angel’s visit, the shepherds’ walk to the manger, and their adoration of the Lord who has brought “peace on earth, goodwill to all mankind.”
I hope you enjoy this arrangement featuring melody and harmony on Oriole (soprano) and alto recorder respectively, lyre accompaniment, and the German lyrics I learned from a record album about 20 years ago!
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This beautiful Christmas carol began as a poem written by Cecil Frances Alexander in 1848. The poem is based on Luke 2:4-7, which read:
“And Joseph also went up from Galilee, out of the city of Nazareth, into Judaea, unto the city of David, which is called Bethlehem; (because he was of the house and lineage of David:)
To be taxed with Mary his espoused wife, being great with child.
And so it was, that, while they were there, the days were accomplished that she should be delivered.
And she brought forth her firstborn son, and wrapped him in swaddling clothes, and laid him in a manger; because there was no room for them in the inn.”
In 1849, English organist Henry John Gauntlett discovered the poem and set it to his melody entitled “Irby,” which is the tune we still sing today.
I first heard this carol on a CD of English (as in from England) carols someone gave me for Christmas when I was about 15. It was a choral arrangement that began with a soprano soloist. For some reason the melody and
lyrics
were unforgetable to me, and I learned to play the carol by ear on piano to accompany my singing.
Here is “Once in Royal David’s City” on ukulele, viola, alto recorder, and lyre. I hope you enjoy it!
This post is part of my Holiday Blogging party. And you’re invited!
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Tomorrow we celebrate Thanksgiving in the United States. Wherever you live, this can be a time to reflect on and express gratitude and thankfulness. Gratitude is the inner feeling that you have received kindness. Thankfulness is the expression of that feeling. Both are positive and, though seemingly small, add so much to our lives. After all, if we don’t acknowledge the good things we already have, how can we receive more? The feeling of gratitude opens us to more positive feelings, including kindness and compassion toward ourselves and others.
“Angel” is a piece I wrote in 2003, on keyboard and harmonica. I hope you enjoy hearing it on lyre, Oriole soprano recorder, Oriole Dolce Duo (a double flute), and viola. Putting this together was a labor of love!
I wish each one of you a blessed, happy, hopeful, peaceful, and safe Thanksgiving, and many moments of gratitude and thankfulness now and every day!
Henry Alford wrote this hymn in 1844. The text is based on
Psalm 104.
The melody is “St. George’s Windsor” by George Job Elvey.
I hope you enjoy this Thanksgiving/Harvest Festival hymn played on ukulele, viola, alto recorder, and lyre!
“Wilt Heden Nu Treden” is the original Dutch title of the hymn we know as “We Gather Together.” Adrianus Valerius wrote the text in 1597, to celebrate the Dutch victory over Spanish forces at the Battle of Turnhout. The melody is a traditional Dutch folk tune, author unknown. Today the hymn is most often associated with Thanksgiving. You can read the English lyrics
here.
I hope you enjoy hearing “We Gather Together” on lyre, viola, and Oriole (soprano) recorder!
Anglican bishop Reginald Heber wrote the lyrics to “Holy, Holy, Holy! Lord God Almighty!” but the hymn was not published until after his death. The melody is called “Nicaea” and was composed by John Bacchus Dykes. This hymn endures into the 21st century in many Christian denominations. I remember singing it as a child, in celebration of the Trinity.
I hope you enjoy this arrangement on alto recorder and lyre!
“Over the River and Through the Wood” is a Thanksgiving poem written by Lydia Maria Child. It was first published in 1844 as “The New-England Boy’s Song about Thanksgiving Day.” An anonymous musician set the poem to the tune we know today. You may find it interesting to read
Over the River and Through the Wood: 7 Fun Facts
by New England Historical Society, while you listen to this fun song on lyre and alto recorder!
“Day by Day” is a popular hymn, translated from the Swedish, “Blott en dag.” Karolina Wilhelmina Sandell-Berg wrote the lyrics in 1865, several years after witnessing her father’s tragic death by drowning. In 1872 Oscar Ahnfelt wrote the melody we still sing today. The Swedish lyrics were translated by Andrew L. Skoog, and the hymn first appeared in American hymnals in the 1920s. Though it is often sung at funeral services, “Day by Day” offers a comforting message at any time:
Day by day, and with each passing moment,
Strength I find, to meet my trials here;
Trusting in my Father’s wise bestowment,
I’ve no cause for worry or for fear.
He Whose heart is kind beyond all measure
Gives unto each day what He deems best-
Lovingly, its part of pain and pleasure,
Mingling toil with peace and rest.
I hope you enjoy listening to this hymn on alto recorder and lyre!
We don’t know who wrote “Fairest Lord Jesus,” also called “Beautiful Savior.” However, we do know it was a German hymn entitled “Schönster Herr Jesu.” The melody is a Silesian folk song often called “Crusaders’ Hymn,”, and its authorship is also unknown. The melody and German lyrics were first printed together in 1842. It is a beautiful, relaxing melody, and I hope you enjoy listening to it on recorder and lyre!
This arrangement can be played on a lap harp that goes down to G below Middle C, and up to the G that is 2 above Middle C. In Scientific pitch notation, this is G3-G5. In other words, you need 2 octaves, starting on G below Middle C. If you would like an audio tutorial to learn this tune, please
contact me.
Mystical Strings 
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