I haven’t posted links to music in some months. I have some recordings, but none are really in finished form. I have a rough take of a setting of Isaiah 12. The text of the verses is Rev Carl F. Daw’s adaptation of the canticle. The text is copyright © 1982 Hope Publishing Company and is used here with their permission. Rev Daw has also approved a slight adaptation, the addition of a refrain for easier use at the Easter Vigil.
Anyway, here is the audio version of “We Draw Water Joyfully.”
If, for some reason, you wish to “test” this, you will need to arrange permission to use the text with Hope. I’m only authorized to present the audio, as long as I don’t profit from it.
A few Taize-style refrains:
And an old setting of Psalm 134 for Compline that attracted a bit of GIA attention many, many years ago:
As you can see from the manuscript, on the first one, I have a notion of setting parts of Jeremiah 1 as verses for this. No idea how that might unfold. I used it at Taize Prayer last weekend, and at first I thought it didn’t compare well to the other four pieces chosen. The only saving grace, I thought, was that “Arms Wide Open” was the theme of the retreat. But then people maintained the singing for it just as I thought it was flagging a bit. No comments thumbs up or down from anybody on it.
On the second one, I’ve always liked that quote since I saw it in a Claretian publication a few years ago. This setting has never been used in liturgy or even seen by anyone else. (My wife won’t like that, probably.)
Regarding “Come Bless The Lord,” this has been seen and done several times: at an NPM convention, in a few parishes, a few summer liturgy gatherings. It was meant for Night Prayer, or perhaps Evening Prayer at a stretch (the Collegeville Benedictines use 134 for Vespers) not for Sunday Mass. The three wind parts, choir parts, and verses are all stacked in the manuscript, but you know the drill for Taize, right? I would have a treble instrument state the melody, then the cantor intone, then as the assembly gets comfortable singing, add the voice parts. Instrument parts enter judiciously, probably not while the psalmist is singing. Verse one comes in several times later, choir and assembly maintaining the refrain (if they dare). Then a few refrains, then verse 2, then a few more refrains, then verse 3, then several refrains to take things back down to quiet simplicity.
Parishes have my express permission to use the three printed settings above for their own experimentation or liturgical use. My only request is to send a report back to me. If there’s any composer out there who would like to take a stab at verses for the first two Taize pieces, I’m willing to collaborate. Have fun.