INDONESIA QUARTET. . . Voices of Victory the Seventh Day Adventist Independent Gospel Music Ministry
Kamis, 11 Agustus 2011
WHISPERING HOPE
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| Alice Hawthorne, 1902 |
Whispering Hope.
MP3: Whispering Hope.
Alice Hawthorne
Born: May 11, 1827, Philadelphia, Pennsylvania.
Died: November 22, 1902, Philadelphia, Pennsylvania.
Buried: Philadelphia. Pennsylvania.
Winner was a well known poet, composer and violinist. A self taught musician, he also ran a music store, gave lessons on various instruments, and played in the Philadelphia Brass Band and Cecilian Musical Society. He wrote or edited over 200 volumes of music, for more than 20 instruments, and produced 2,000 arrangements for violin and piano.
HISTORIA HERALD
Primera Formatión:
1927 - 1937
Primer Tenor: Lewis Crane.
Segundo Tenor: Waldo Crane.
Bariton: Wesley Crane.
Bass: Ray Turner.
Seconds Formatión:
1939 - 1940.
Primer Tenor: Bob Johnson
Third Formatión:
1940 - 1941.
Primer Tenor: Bob Johnson.
Second Tenor: Ralph Simpson.
Bariton: Wesley Crane.
Bass: Ray Turner.
Cuarta Formación:
1941 - 1943.
Primer Tenor: George Casebeer.
Segundo Tenor: Bob Seamount.
Bariton: Wesley Crane.
Bass: Ray Turner.
Quinta Formación:
1944.
Primer Tenor: George Casebeer.
Segundo Tenor: Bob Seamount.
Bariton: Wayne Hooper.
Bass: Ray Turner.
Sexta Formación:
1944 - 1947.
Primer Tenor: Ben Glanzer.
Segundo Tenor: Bob Seamount.
Bariton: Wayne Hooper.
Bass: Ray Turner.
Octava Formación:
1948.
Primer Tenor: Bob Edwards.
Segundo Tenor: Ben Glanzer.
Baritono: Richard Lang.
Bajo: Jerry Dill.
Décima Formación:
1949.
Décimo Primera Formación:
1949 - 1961.
Primer Tenor: Bob Edwards.
Segundo Tenor: Bob Seamount.
Bariton: Wayne Hooper.
Bass: Jerry Dill.
Décimo Segunda Formación:
1961 - 1962.
Primer Tenor: Bob Edwards.
Segundo Tenor: John Thurber.
Bariton: Wayne Hooper.
Bass: Jerry Dill.
Décimo Tercera Formación:
1962 - 1967.
Primer Tenor: Bob Edwards.
Segundo Tenor: John Thurber.
Bariton: Jack Veazey.
Bass: Jim McClintock.
Décimo Cuarta Formación:
1967 - 1971.
Primer Tenor: Bob Edwards.
Second Tenor: Jerry Patton.
Baritono: Jack Veazey.
Bajo: Jim McClintock
Décimo Quinta Formación:
1971 - 1977.
Primer Tenor: John Ramsey.
Segundo Tenor: Jerry Patton.
Bariton: Jack Veazey.
Bass: Jim McClintock.
Décimo Sexta Formación:
1977 - 1983.
Primer Tenor: John Ramsey.
Segundo Tenor: Jerry Patton.
Baritono: Jack Veazey.
Bajo: Jim Ayars.
Décimo Séptima Formación:
1983 - 1997.
Primer Tenor: Don Scroggs.
Segundo Tenor: Jerry Patton.
Bariton: Jack Veazey.
Bass: Jim Ayars.
Décima Octava Formación:
1997 - 2002.
Primer Tenor: Don Scroggs.
Segundo Tenor: Jerry Patton.
Bariton: Steve Laing.
Bass: Jim Ayars.
Décimo Novena Formación:
2002 - 2004.
Primer Tenor: Don Scroggs.
Segundo Tenor: Jerry Patton.
Bariton: Russell Hospedales.
Bass: Jim Ayars.
Vigésima Formación:
2005 - Presente.
Primer Tenor: Don Scroggs.
Segundo Tenor: Joel Borg.
Bariton: Russell Hospedales.
Bass: Jeff Pearles.
1927 - 1937
Segundo Tenor: Waldo Crane.
Bariton: Wesley Crane.
Bass: Ray Turner.
Seconds Formatión:
1939 - 1940.
Second Tenor: Vernon Stuart
Bariton: Wesley Crane
Bass: Ray TurnerThird Formatión:
1940 - 1941.
Second Tenor: Ralph Simpson.
Bariton: Wesley Crane.
Bass: Ray Turner.
Cuarta Formación:
1941 - 1943.
Segundo Tenor: Bob Seamount.
Bariton: Wesley Crane.
Bass: Ray Turner.
1944.
Segundo Tenor: Bob Seamount.
Bariton: Wayne Hooper.
Bass: Ray Turner.
Sexta Formación:
1944 - 1947.
Segundo Tenor: Bob Seamount.
Bariton: Wayne Hooper.
Bass: Ray Turner.
Octava Formación:
1948.
Segundo Tenor: Ben Glanzer.
Baritono: Richard Lang.
Bajo: Jerry Dill.
Décima Formación:
1949.
Primer Tenor: Elwyn Ardourel.
Segundo Tenor: Frank Dietrich.
Bariton: Jerry Dill.
Bass: Joe Melashenko.
Segundo Tenor: Frank Dietrich.
Bariton: Jerry Dill.
Bass: Joe Melashenko.
Décimo Primera Formación:
1949 - 1961.
Segundo Tenor: Bob Seamount.
Bariton: Wayne Hooper.
Bass: Jerry Dill.
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| Con Del Delker. |
Décimo Segunda Formación:
1961 - 1962.
Segundo Tenor: John Thurber.
Bariton: Wayne Hooper.
Bass: Jerry Dill.
Décimo Tercera Formación:
1962 - 1967.
Segundo Tenor: John Thurber.
Bariton: Jack Veazey.
Bass: Jim McClintock.
Décimo Cuarta Formación:
1967 - 1971.
Second Tenor: Jerry Patton.
Baritono: Jack Veazey.
Bajo: Jim McClintock
Décimo Quinta Formación:
1971 - 1977.
Segundo Tenor: Jerry Patton.
Bariton: Jack Veazey.
Bass: Jim McClintock.
Décimo Sexta Formación:
1977 - 1983.
Segundo Tenor: Jerry Patton.
Baritono: Jack Veazey.
Bajo: Jim Ayars.
Décimo Séptima Formación:
1983 - 1997.
Segundo Tenor: Jerry Patton.
Bariton: Jack Veazey.
Bass: Jim Ayars.
Décima Octava Formación:
1997 - 2002.
Segundo Tenor: Jerry Patton.
Bariton: Steve Laing.
Bass: Jim Ayars.
Décimo Novena Formación:
2002 - 2004.
Segundo Tenor: Jerry Patton.
Bariton: Russell Hospedales.
Bass: Jim Ayars.
Vigésima Formación:
2005 - Presente.
Segundo Tenor: Joel Borg.
Bariton: Russell Hospedales.
Bass: Jeff Pearles.
WAYNE HOOPER
Hooper sang baritone with the King’s Quartet group for 18 years, and arranged and composed music for the group for 33 years. He taught music at the Portland (Oregon) Academy and Union College, Lincoln, Nebraska; served as musical director of the Voice of Prophecy broadcast; directed development and marketing for Hosanna House; did arranging and orchestration for Chapel Records; was musical co-editor of the 1985 Seventh-day Adventist hymnal; and co-authored the Companion to the SDA Hymnal. Andrews and La Sierra Universities awarded honorary doctor of music degrees to him.
Born: July 4, 1920, Little Rock, Arkansas.
Died: February 28, 2007, at his home in Thousand Oaks, California.
Wayne Hooper: A Celebration of Life
"celebration of a lifetime" in honor of Wayne Hooper (1920-2007), perhaps the most famous Adventist musician in our denominational history. For me Hooper is a complicated individual who was extremely talented on the one hand and who loved the Voice of Prophecy, but who was far from perfect as highlighted in the memorial service--someone who knew how to pinch every last penny (as Del Delker said yesterday, a "tight wad") and who had a temper. Listening to the service helped me understand some of the things I had heard about him--a paranoia that others in the church were trying to take advantage of his musical talent by not giving him enough money for his royalties, and even my personal experience with him when he changed his mind about doing an oral history because I would try to control or make money off his memoirs (a rather preposterous idea!). Regardless, for those interested in Adventist history, for biographical purposes, a lot could be gleaned yesterday just by watching and listening. Here are a few interesting tidbits:
(1) Hooper was one of the original members of H. M. S. Richards' "King's Heralds" quartet. He was the last surviving member of the original group and his death, according to Lonnie Melashenko, represents the "end of an era."
(2) His musical talent was extraordinary. During the service his songs and photography were demonstrated. One recording featured Hooper singing all four parts. Del Delker couldn't believe that Hooper actually sang the soprano part, a difficult piece to sing--even for her. It is also interesting to observe the relationship between Hooper and Delker, the latter describing the former as her mentor and teacher.
(3) The famous song "We Have This Hope" was composed for the 1962 GC Session and has been played for more than half the subsequent GC sessions (including the most recent one held in St. Louis in 2005).
(4) Hooper's style of quartet arrangement, known as the "Hooper style" reflects his unique contribution to this particular genre of music.
(5) Hooper is probably responsible more than any other single person for the current hymnal sitting in the pew of most churches throughout the Seventh-day Adventist Church (brought out in 1985). He also authored the "Companion to the SDA Hymnal" with helpful commentaries (I've used it on a number of occasions).
(6) Hooper was responsible for over 1500 arrangements and compositions. Several including "We Have This Hope" appear in the SDA Hymnal.
(2) His musical talent was extraordinary. During the service his songs and photography were demonstrated. One recording featured Hooper singing all four parts. Del Delker couldn't believe that Hooper actually sang the soprano part, a difficult piece to sing--even for her. It is also interesting to observe the relationship between Hooper and Delker, the latter describing the former as her mentor and teacher.
(3) The famous song "We Have This Hope" was composed for the 1962 GC Session and has been played for more than half the subsequent GC sessions (including the most recent one held in St. Louis in 2005).
(4) Hooper's style of quartet arrangement, known as the "Hooper style" reflects his unique contribution to this particular genre of music.
(5) Hooper is probably responsible more than any other single person for the current hymnal sitting in the pew of most churches throughout the Seventh-day Adventist Church (brought out in 1985). He also authored the "Companion to the SDA Hymnal" with helpful commentaries (I've used it on a number of occasions).
(6) Hooper was responsible for over 1500 arrangements and compositions. Several including "We Have This Hope" appear in the SDA Hymnal.
NOTHING BETWEEN.
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| Arr. by: Wayne Hooper (1999) |
Nothing Between.
MP3: Nothing Between.
Hooper sang baritone with the King’s Quartet group for 18 years, and arranged and composed music for the group for 33 years. He taught music at the Portland (Oregon) Academy and Union College, Lincoln, Nebraska; served as musical director of the Voice of Prophecy broadcast; directed development and marketing for Hosanna House; did arranging and orchestration for Chapel Records; was musical co-editor of the 1985 Seventh-day Adventist hymnal; and co-authored the Companion to the SDA Hymnal. Andrews and La Sierra Universities awarded honorary doctor of music degrees to him.
Born: July 4, 1920, Little Rock, Arkansas.
Died: February 28, 2007, at his home in Thousand Oaks, California.
JESU, WORD OF GOD INCARNATE
Jesu, Word Of God Incarnate
MP3: Jesu, Word On God Incarnate.
Ave Verum (Jesu, Word of God Incarnate) by Wolfgang Amadeus Mozart (1756-1791). Choir Sacred. SATB choir. Choral (Sacred); Choral Octavo; Masterworks; Worship Resources. H.W. Gray. Classical; Lent; Masterwork; Sacred; Spring. Grade 3. Choral Octavo. 12 pages. Published by Alfred Music Publishing (AP.GCMR03147).
IVORY PALACES
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| Words & Music by: Henry Barraclough, 1915 |
PARTITUR:
Ivory Palaces
MP3: Ivory Palace
My Lord has garments so wondrous fine,
And myrrh their texture fills;
Its fragrance reached to this heart of mine
With joy my being thrills.
And myrrh their texture fills;
Its fragrance reached to this heart of mine
With joy my being thrills.
Refrain
Out of the ivory palaces,
Into a world of woe,
Only His great eternal love
Made my Savior go.
Into a world of woe,
Only His great eternal love
Made my Savior go.
His life had also its sorrows sore,
For aloes had a part;
And when I think of the cross He bore,
My eyes with teardrops start.
For aloes had a part;
And when I think of the cross He bore,
My eyes with teardrops start.
Refrain
His garments too were in cassia dipped,
With healing in a touch;
Each time my feet in some sin have slipped,
He took me from its clutch.
With healing in a touch;
Each time my feet in some sin have slipped,
He took me from its clutch.
Refrain
In garments glorious He will come,To open wide the door;
And I shall enter my heav’nly home,
To dwell forevermore.
Refrain
All Your robes are fragrant with myrrh and aloes and cassia; from palaces adorned with ivory the music of the strings makes You glad.Psalm 45:8
[This song] was written very near to my home in the mountains of North Carolina. In the summer of 1915 the famous evangelist Dr. J. Wilbur Chapman was preaching at the Presbyterian conference grounds at Montreat. With him were the songleader Charles M. Alexander, soloist Albert Brown, and their pianist Henry Barraclough. Barraclough, the author of this hymn, was a twenty-four-year-old Britisher; he had met Chapman the previous year during a preaching mission in England.
During the conference, the evangelist spoke one evening on the forty-fifth Psalm [in 1893, Chapman had written a book called Ivory Palaces of the King]. He believed, as I do, that this is a prophetic, “Messianic” psalm which speaks of the relationship of Christ, the bridegroom, to his bride, the church…
After the evening service,CharlieAlexander and Henry Barraclough drove some friends to the Blue Ridge YMCA Hostel a few miles away. Sitting in the front seat of the car, young Barraclough thought about the message and the four short phrases of the refrain began to take shape in his mind. When they stopped at a little village store, he quickly wrote them down on avisiting card— the only paper that was available. Returning to the conference hotel, he worked out the first three stanzas, using the outline of Chapman’s message. The following morning Mrs. Alexander and Mr. Brown sang the new hymn in the Montreat conference session.
(Billy Graham, in Barrows, p. 25)
Rabu, 10 Agustus 2011
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