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Come, !" F"nt

of Every BlessingThree Variations for Choir, Handbells, and Piano

the text of Robert Robinsonset to music by Bryan Dunnewald

Program NotesThe hymn Come, Thou Fount of Every Blessing was written by Robert Robinson in 1757 and is most commonly heard set to the tune “Nettleton,” composed by John Wyeth in 1813. This tune provides the musical influence for the piece (heavy at first, then slowly departing), and the text is used throughout in three musical contexts or variations.

The opening variation is lively, fun, casual. It is here where the listener is introduced to (or reminded of) the hymn tune and text, sung by the choir. The meter is 10/8, extending each beat of the tune (which is in 3/4) for a lighter experience. The rhythm is crucial to this variation’s success and, while not dominating the performance, must be always in the minds of the performers. The choir’s part, while maintaining the tune’s harmonic structure, should not be thought of or performed as a “hymn.” Rather, it should be expressive, heeding to the text. The piano and bells work together to support the choir while presenting their variation on the text and tune and should not be thought of as purely accompanists; they are just as important, if not more, than the choir, and provide the first variation in the piece.

The second variation is the longest and most ethereal. The choir opens and remains a cappella through the entire variation, singing the second verse from the hymn. The tune now moves to the bells, and only the melody remains intact. The bells have two interludes, both using the melody from “Nettleton” with new, austere harmony. Though simple, the bell interludes are very important and should be as if coming from the gallery of a large cathedral – a response from the heavens, never rushing or hasty. The choir part is expressive and heavily influenced by the text. In contrast to the bells, the choir can be free rhythmically, as in the style of gregorian chant (though it is by no means a chant).

In the third and final variation, a march toward salvation begins. The piano, bells and choir all join to form one unit, providing the strength for such a march. The first half is fierce, dominating and quick, and the second triumphant and celebratory. The dynamic contrasts in this variation are critical, and should be as dramatic and varied as possible. Accents are also important, and, although there are few marked in the score, more may be added where needed. The end of the variation (and entire piece) is indeed a proclamation of commitment to God and should be just as powerful as such.

If Robinson’s text is kept in mind throughout this piece, during rehearsal and performance, musical interpretation and successful performance are sure to follow.

-Bryan DunnewaldInterlochen, MI; 2012

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