For All the Saints is offered to the glory of God in loving memory of all saints, known and unknown. The hymns on this album were improvised, arranged, and recorded by Charles Manning. As suggested in its title, When in Our Music God is Glorified expresses the profound desire of the human spirit to create music dedicated to the glory of God. This arrangement is a rhapsodic interpretation of Charles Villiers Stanford’s captivating tune, Engelberg, complete with trumpet flourishes and noble musical gestures. As the text of the fifth verse of the hymn proclaims: “Let every instrument be tuned for praise! / Let all rejoice who have a voice to raise! / And may God give us faith to sing always – Alleluia!” Easter, the most significant event in Christian life, is often celebrated with the hymn Christ the Lord is Risen Today. This setting begins with a grandiose pedal improvisation symbolizing Christ’s resurrection, followed by fanfares on the organ’s trumpets. Two verses of the majestic Easter Hymn (composer unknown) are played, concluding with a descant soaring above the triumphant melody. As a soft drone winds its pitch into tune, the organ imitates the sound of bagpipes coming from a distance. This musical arrangement employs the technique of canon (imitation) for the theme of Amazing Grace. John Newton, an Englishman, based the original hymn text on his religious conversion. His celebrated words reveal the Christian doctrine of divine grace. The melody of the tune, perhaps one of the most familiar and beloved in all Christian hymnody, was adapted to its modern version by Edwin Othello Excell in 1900. Some 30 years before Beethoven finished his only choral symphony, he was inspired by the spiritual power of Friedrich Schiller’s poem, Ode to Joy. Joyful, Joyful, We Adore Thee utilizes the tune adapted from Beethoven’s music by Edward Hodges in the early 1860s. The familiar words were written by Henry Van Dyke in 1907. In this rendition the organ’s zimbelstern, a turning star near the top of the organ case, continuously strikes a set of small bells, creating the effect of a “heavenly firmament” as a backdrop to the theme. The music concludes with an improvisation on the jubilant ending of Beethoven’s famous Ninth Symphony. First published in William E. Barton’s Old Plantation Hymns in 1899, Were You There is an African-American spiritual generally associated with Good Friday. This arrangement combines an intimate and meditative melody played on the pedals with the sound of the organ’s harp in the accompaniment on the manuals. In this musical arrangement of The Old Rugged Cross, the melody begins with the haunting sound of a flute. A gentle transition leads into another sentimental hymn, In the Garden, in which chimes are heard ringing the familiar tune. Both of these old gospel songs were composed early in the 20th century, and both became popular during the Billy Sunday revival era. Praise to the Lord, the Almighty, a splendid hymn of praise, is based on Psalms 103 and 150. With its magnificently soaring melodic lines, Lobe den Herren is one of the noblest and most memorable of all sacred melodies. Written in 1597 to celebrate a Dutch victory over Spanish forces, We Gather Together became symbolic of Dutch Protestants worshiping as one body. The hymn is now a special favorite for the celebration of Thanksgiving Day. This arrangement features a straightforward statement of the elegant tune, originally a 17th-century Dutch folk song which was later modified by Edward Kremser. The hymn tune is followed by a fantasia-like variation and a grandiose ending. The music for Be Still, My Soul was originally composed as the central portion of the symphonic poem Finlandia by Finnish composer Jean Sibelius. Finlandia was a patriotic work composed in 1899 for a freedom of the press rally. With words from a 1752 poem by Katharina von Schlegel, the middle section of the piece became an inspiring hymn. This improvisation begins and ends with a repeating bass motif in the pedal and includes trumpet fanfares, all of which are reminiscent of the symphonic poem. Two cherished hymns, Jesus Loves Me and How Great Thou Art, have been combined into one musical arrangement. Jesus Loves Me is often the first song learned by children in Sunday school. How Great Thou Art was popularized during the Billy Graham crusades, and subsequently won two Grammy Awards after it was recorded by Elvis Presley. The musical technique of quodlibet (two different melodies played at the same time) is used in this arrangement with How Great Thou Art played on the organ keyboard, while Jesus Loves Me is heard in the pedals. Holy, Holy, Holy! is generally considered to be John B. Dykes’ most popular hymn. The tune, Nicaea, was named in honor of the Council of Nicaea (325 A.D.), during which the Christian doctrine of the Trinity was formulated. The free organ improvisation which follows the hymn tune evokes the transcendent message of the hymn with its universal praise of the Creator, Redeemer, and Sanctifying Spirit. The hymn A Mighty Fortress is Our God gave inspiration and strength to Martin Luther’s followers during the Protestant Reformation. Referred to as the “Battle Hymn of the Reformation,” it has been translated into at least 53 languages. This version begins with a statement of Luther’s chorale tune as harmonized by J.S. Bach (1685-1750), and is followed by an improvised fugue in Bach’s own style. A fugue consists of a melody which is varied and developed in a compositional technique called counterpoint. The melody is presented in both the manuals and pedals, and increases in intensity until the end. In 1947, the hymn tune Lauda anima served as the processional for the wedding ceremony of Queen Elizabeth II. The translation of the celebrated tune’s Latin title is Praise My Soul, the King of Heaven. The stirring music of Sir John Goss has a uniquely Anglican flavor, making it especially adaptable for the resonating sonorities of the pipe organ. This hymn has become a particular favorite of English cathedral choirs for its memorable melody and sustained phrases. The tune St. Elizabeth is one of the most venerated hymn tunes in American Christianity. Named for its inclusion by Franz Liszt in his oratorio The Legend of St. Elizabeth, the melody is generally sung to the text of Fairest Lord Jesus (a 17th-century hymn translated from German, author unknown). This setting is a gentle meditation on the tune, utilizing the soft string stops of the organ. Two different tunes are often associated with Love Divine, All Loves Excelling. Both are joined together in this musical arrangement. The first tune, entitled Beecher, derives its name from John Zundel’s acquaintance with Henry Ward Beecher when Zundel served as a church organist in New York City. The second tune, Hyfrydol (a word meaning “cheerful”) is of Welsh origin and was inspired by The Song of Venus from King Arthur, a play by John Dryden. Beecher was the favorite tune of Charles Manning’s grandmother, “Baba,” and the Hyfrydol tune was sung by the choir as the processional for his wedding ceremony when he married his wife, Zoë. Let Us Break Bread Together originated from the gathering song Let us Praise God Together on Our Knees and was possibly sung by slaves to communicate messages about secret meetings. After the Civil War, it became known as a communion hymn. This organ arrangement creates a mystical setting for the holy sacrament with melodic stanzas using the technique of ostinato (a repeating accompanimental pattern) alternating with free improvisations and concluding with a simple statement of the hymn tune. In remembrance and celebration of all the saints, the triumphant glory of the organ in its fullest splendor is revealed in For All the Saints. The title of Ralph Vaughan Williams’ 1906 hymn tune Sine Nomine, “without name,” refers to all saints, known and unknown, as they are honored each year on the first day of November, All Saints’ Day. The organ concludes the album with a rhapsody on the magnificent music of Vaughan Williams, as if proclaiming to all the world, “Alleluia, Alleluia!” St. Luke’s United Methodist Church in Indianapolis, Indiana is “an open community of Christians gathering to seek, celebrate, live, and share the love of God for all Creation.” In the sanctuary of St. Luke’s, the Goulding & Wood Pipe Organ, Op. 33, with its 80 ranks of organ pipes, is an instrument “tuned for praise,” and is a glorious source of musical inspiration for all to “rejoice who have a voice to raise!” The magnificent instrument, with 4,892 individually sounding pipes, was crafted and installed in 1999 by Goulding & Wood Organbuilders of Indianapolis. © 2007 Harmonie Haus Music www.harmoniehausmusic.com In appreciation for the support of the many people who worked together on this sacred music project, my heartfelt gratitude is expressed to the ministers and staff of St. Luke’s United Methodist Church for their continued friendship and spiritual support; to longtime friend and colleague George Benn, the audio engineer whose incredible skills and sensitivity were vital in recording the music; to artist Jennifer Tam, graphic artist Joni Keith, and Denis Ryan Kelly, Jr., World Photographer, LLC, for their exceptional artistic talents and expertise; to the staff of Goulding & Wood Organbuilders, who designed, built, and continue to meticulously maintain St. Luke’s splendid pipe organ; to my two sons, Jonathan and Christopher, who never wavered in their encouragement and enthusiasm for my efforts; and most importantly, to my beloved wife and soul mate, Zoë, the producer of the album, whose limitless creativity, tireless dedication, and loving spirit inspired me to create my own musical interpretations of these beautiful hymns. In all of his musical endeavors, organist Charles Manning exudes a passion for music and ministry through his ubiquitous service as a goodwill ambassador to the civic, cultural, and interfaith communities. His musical versatility and experience encompass sacred music, as well as symphonic, choral, and recital repertoire. As an organist he has served a number of Indianapolis churches, including All Saints Episcopal Church, Christ Church Cathedral, St. Matthew’s Episcopal Church, Broadway United Methodist Church, Old Bethel United Methodist Church, and St. Luke’s United Methodist Church. He has also been the organist and choirmaster for Congregation Beth-El Zedeck, an Indianapolis synagogue. An accomplished solo artist, Mr. Manning has performed on numerous occasions with the Indianapolis Symphony Orchestra and with many community ensembles. He can be heard on the ISO’s compact disc recordings of Tchaikovsky’s Manfred Symphony, Vaughan Williams’ Sinfonia Antartica, and A Yuletide Celebration. He was also the organ soloist for the Symphony’s silent movie celebration of the 75th Anniversary of the Hilbert Circle Theater. In honor of Mr. Manning’s 25 years as accompanist, the Indianapolis Symphonic Choir commissioned composer Dan Locklair to write a new piece for chorus and organ, entitled From East to West. Participating in an historic event, Mr. Manning appeared on national television as organist for the ordination of the first woman Episcopal priest in the United States. He was also organist for the opening service of the General Convention of the Episcopal Church in Louisville. A member of the American Guild of Organists, he has performed at national conventions of the Organ Historical Society and the National Association of Pastoral Musicians, and has given organ recitals throughout the eastern United States. Mr. Manning has performed for former President Bill Clinton, former Vice-President Al Gore, and former Israeli Prime Minister Ehud Barak during several distinguished lecture events at Congregation Beth-El Zedeck. His service to the community of Indianapolis has included playing for Celebration of Hope services for racial reconciliation and memorial services for Homeless Citizens Advocates. He has also been a guest lecturer for church music seminars at the Indiana University Jacobs School of Music. A native of Charleston, West Virginia, Mr. Manning’s musical life began with piano lessons at age five. During high school he started organ lessons with Elizabeth Reese Johnson, and continued his organ studies in college with Oswald Ragatz, Clyde Holloway, and Robert Rayfield. He earned his bachelor’s and master’s degrees at the Indiana University Jacobs School of Music. Charles and his wife, Zoë, have two adult sons, Jonathan and Christopher.