Benedictus es, Domine

June 05, 2016

You may recall that recently I took a look at the first six measures of John Rutter's Benedictus es, Domine and showed how I rewrote them. Today I've decided to go ahead and share my arrangement of the rest of the composition.

Liturgical Function

This music happens in the service after the opening Hymn and the Gloria, as an alternative to the Psalm, called a Canticle, in this case with text beginning (in Latin, though it is sung in English) Benedictus es, Domine. Many verses in scripture begin with these words Benedictus es, Domine, and I poked around but could not find out exactly from which verses this text is taken. It sounds like a Psalm to me, which would make the most sense, since that is how it's being used in the service. This is something I should know, so if you know the answer, please tell me via email.

The Original Music

The melody composed by John Rutter is easy to sing — one-octave range, middle C to the C above, and contains a memorable, kitschy modulation. The tune is repetitious, with a lot of long notes that try the patience a little, but it could be worse.

The piece also features a descant, which is written in an imitative (quasi-canonic) way, and this is the most attractive element of the composition, as well as the reason for the aforementioned long notes in the melody.

The organ accompaniment in the service book may be a transcription from an instrumental score, which would explain some of its non-idiomatic qualities. In any case, as I demonstrated previously, the accompaniment has problems which work against the better qualities of the music.

You can hear the original piece being played in a service, cued up in this YouTube video.

My Arrangement

The version I wrote for myself is basically in four parts, with a fifth and sixth voice added intentionally in places according to the harmony and form of the original.

NOTE: On this recording I'm playing more slowly than I would in a service. Also, in the recording I play the last three measures a bit more "jazzy" than written (A-flat instead of A, and then a Major 7th and Major 9th on the final chord), but I didn't do that at the actual service.

Technically speaking, this arrangement is not beyond reproach (there is still objectionable voiceleading here and there), but correcting every technical error in the published score was not my aim. My goal was to improve things enough that I could enjoy playing the music, and I'm satisfied with the result.

I'll continue next time by discussing some other problems in organ music, showing specific examples in music written by different composers.

Peace,
Aaron