Liberating a musical relic

In discussions of artistic and intellectual property it is often remarked that “There is nothing new under the sun.” in reference to the frequency with which works under copyright turn out themselves to have been copied or derived from older material which may or may not have been public domain already – such as popular film scores taking cues from classical compositions.

One example is Howard Shore’s In Dreams, part of his soundtrack to The Fellowship of the Ring. The melody, especially the first seven notes, came from the 1901 hymn This Is My Father’s World.

The lyrics were written by Presbyterian minister Maltie Babcock and set to music by composer Franklin Sheppard. Despite the musical similarity, thematically they are entirely different: Babcock’s lyrics are mainly about the beauty of natural creation, with a few explicit references to scripture, and obviously multiple references to the Christian deity. Shore’s song, in common with everything else in Jackson’s films, avoids any direct mention of Eru Ilúvatar. Principally the song seems to be about perseverance through adversity and the emotional pain of separation from close friends. Given how the story ends, it could be interpreted as anticipating reunification after death. That the song should allude to spiritual principles without actually naming a real religion is in keeping with Tolkien’s conception of the book (albeit he was Catholic not Presbyterian).

This was the favourite childhood church song of prominent atheist Penn Jillette, who even parodied it for the opening them of his podcast. Personally I only discovered the hymn when searching backwards from the FOTR score, and on further investigation it does not seem to have made much of a cultural penetration outside North America. Searching for it on YouTube mainly brings up American religious schools.

Given the song’s publication and Babcock’s death both occurred in 1901, with Sheppard dying in 1930, the music and lyrics have both been in the public domain for some time, so I was a little surprised to see that Wikimedia Commons did not have an audio file. I set about creating one, based on a photograph they did have of a printout of the sheet music. It had been a long time since last I used MuseScore, but in about an hour I had relearned enough to copy out the page, render it as a sound file and upload it. Obviously mine is instrumental only as MuseScore does not have a singing function and I did not wish to record my own voice for this.

EXTERNAL LINKS

  • This Is My Father’s World, performed by pupils of Fountainview Academy, British Columbia. They really seem to be leaning into the LOTR comparisons with the rowboats and the fallen leaves.
  • Extract from LOTR making-of documentary, showing the recording of In Dreams.
  • Rendition by Sean Holshouser. Twelve years and forty videos later (many of them being actual Christian songs), this remains by far his most popular.

With Heart and Voice to Sing

The coronation, in addition to its visual majesty, is an opportunity for musical expression. In addition to the long list of traditional pieces, there were twelve brand new compositions commissioned for the day. The whole has been turned into an album, which was uploaded to YouTube and various streaming services on the same day. It is also due to go on sale in CD format on 15th May.

Naturally I took it upon myself to arrange it all into a convenient table for the coronation’s Wikipedia page, which another editor shortly afterwards redesigned almost entirely.

THE OLD

  • Johann Sebastian Bach: Magnificat in D Major; Sunday After New Year; Singet dem Herrn ein neues Lied; Alla breve in D Major.
  • William Boyce: The King Shall Rejoice: Opening Chorus
  • Anton Bruckner: Ecce sacerdos magnus.
  • William Byrd: Prevent Us, O Lord; Gloria; Earl of Oxford’s March.
  • Walford Davies: Confortare.
  • Edward Elgar: Nimrod; March No. 4.
  • Orlando Gibbons: Threefold Amen
  • John Goss:
  • George Friderich Handel: The Arrival of the Queen of Sheba; Oh, had I Jubal’s lyre; Care selve; Zadok the Priest.
  • William Henry Harris: Flourish for an Occasion.
  • Gustav Holst: Jupiter, the Bringer of Jollity.
  • Hubert Parry: I was glad; March from the Birds; Chorale Fantasia on “The Old Hundredth”.
  • Henry Purcell: Trumpet Tune; Christ Is Made The Sure Foundation.
  • Richard Georg Strauss: Wiener Philharmoniker Fanfare;
  • William Walton: Crown Imperial; Coronation Te Deum.
  • Thomas Weelkes: O Lord, Grant the King a Long Life.
  • Ralph Vaughan Williams: Fantasia on Greensleeves; Prelude on Rhosymedre.

THE NEW

  • Karl Jenkins: Crossing the Stone.
  • Sarah Class: Sacred Fire.
  • Patrick Doyle: King Charles III Coronation March.
  • Iain Farrington: Voices of the World.
  • Nigel Hess, Roderick Williams & Shirley Thompson: Be Thou My Vision.
  • Paul Mealor: Kyrie Eleison.
  • Roxanna Panufnik: Coronation Sanctus.
  • Tarik O’Regan: Coronation Agnus Dei.
  • Christopher Robinson: The Recognition; Homage Fanfare.
  • Andrew Lloyd-Webber: Make A Joyful Noise.
  • Judith Weir: Brighter Visions Shine Afar.
  • Debbie Wiseman: Alleluia.

Personally, I’m a little disappointed at the lack of Howard Shore.

And On That Note

In something of a diversion from the topics normally covered on this blog, I have published online a series of amateur musical pieces that I made some years back using MuseScore, an open-source composition platform. They can be found here.

There is no particular theme to all of these, nor were they created for any particular purpose – save passing time. The most I have ever gotten out of them so far is as the backing track for my Homework Direct introductory video. Should they arouse any interest I might consider licensing them for fees, but that seems unlikely.

Train Breeds Musical Geniuses

An interesting – if perhaps slightly hyperbolic – video by classical and film music enthusiast Inside the Score, whose works include an appreciative analysis of the score for The Lord of the Rings and a scathing one for Harry Potter.

This short piece posits that the musical complexity of the music from Series 1-7 of Thomas the Tank Engine & Friends – unusual for children’s programming – formed the inspiration for the most talented musicians of the generation watching it.

Co-composer Mike O’Donnell has his own channel, and there are quite a few channels dedicated to the classic series’ music alone, to say nothing of the hundreds pumping out the fanfics:

UPDATE (June 2021)

Mike O’Donnell has given a two-part interview to a fan channel about his work on the series and his new CD releases.

UPDATE (July 2022)

Charles Cornell, another musical YouTuber, has also done an appraisal of the theme.