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This is the home stretch! We've finished all the other sections, so we'll be going straight through with Praise/Thanksgiving to the end. (Except I will probably do a proofread or two to see if I've missed anything that I need to loop back to.)

Very big tenor/bass gaps; the entire "left hand" range is an octave plus a sixth, and there are a couple places where they're almost that entire distance (an octave plus a fifth) apart.

Lots of Jesus=Proper Nouns, with an extended metaphor of God the Creator as Singer and Jesus as incarnate Song. And a literal translation of "Emmanuel" as "God-is-with-us" (one word, hyphens theirs). The music motif is a cool concept, but it doesn't quite stick the landing for me, in part because of rhymes like "Song"/"began."
We get some Jesus=Proper Nouns here with Sun, Power, Ruler, Heart. It also probably qualifies as second person problems, rhyming "heart" with "thou art" (twice) and having lots of "thou"s.

The text is based on an Old Irish prayer that was translated into English in the early 1900s. Along with a translator, we have a "versifier" credited, who arranged it into an English poem! (If somewhat anachronistically given all the "thou" stuff.)

Yes, my choir also did an arrangement of this one, a lot of it was a soprano solo though.
In a reprise of the queen of chorales, we get a lot of Jesus=Proper Nouns. (Well in this case, I guess the Holy Spirit=Proper Nouns.) Sun, Light, Rock, Source of life.

The second verse starts out by praying for guidance "on the narrow way," but then hoping "that we may follow you forever free." Free from what? Other people "derid[ing]" us? Sin? In some sense it's like, we don't necessarily want the freedom to make bad choices, we want to have the knowledge and strength to make the right choices. But I'm not sure I would try to spin that as "true freedom."
This text is by Nikolai Grundtvig, who we've seen several times, but this is the only one of his songs that has Danish text included here. I don't think it's even one of the "random Christmas songs in other languages" from that old handout of singalongs I've mentioned before, or if it is, we still never sing it.

"Now let us go with quiet mind" is an interesting addition to the shepherds' line about "let us go to see the child the angels told us about." Maybe you have to be in an appropriately peaceful mindset to recognize Jesus? Or maybe they just needed a rhyme with "find."

Verse 5 has a lot of Jesus=Proper Nouns (Joy, Song, Dayspring) that summarize the ancient Antiphons from "O Come, O Come, Emmanuel."

The tenor part is extremely boring.
We get some proper noun fun with "Ancient of Days" and "Almighty," and some tortured word order with "The earth..., Almighty, your power has founded...and round it has cast, like a mantle, the sea." Some nice internal rhymes with "defender"/"splendor" and "hills"/"distills"--the latter, I think, trying to say something about how even the dew and rain are signs of God's care. If you look at them in the right perspective. Plus "hymn" as a verb. This is one of those old-timey 1800s texts that you can't blame on a translation, they were just really going over-the-top.
Composer has the excellently diacritic name Király Imre von Pécselyi. Music is pretty good, there's a "tenor part splits into two at the end." Many years ago my home church choir did a great anthem arrangement, but I have no idea how I'd search for that.

Text is also very good. We get a lot of Jesus=proper nouns with the Tree, identifying him with the cross itself, and the Voice. By the fifth verse, the narrator themselves is echoing back Jesus' words; "into your hands, Lord, I commit my spirit"--once we've found Jesus, we can rest in peace.
More Jesus=Proper Names (which is surprisingly frequent now that I look for it, I haven't mentioned it every time but try to tag here and there) with "God the First and Last is with us." Mostly amusing because it's a literal translation of "Alpha and Omega." We also get lines like "Tell [the world's] grim, demonic chorus: 'Christ is risen! Get you gone!'" which I think is relatively neat rather than cheesy but my former director may disagree. We sang this to "Ode to Joy" which isn't suggested as an option here, but fits both accent-wise and thematically.
I try not to overuse the "awesome texts" tag but Advent imagery is so great that a lot of them could qualify, this can be a representative of the genre. It's by Susan Palo Cherwien, who we've seen before, this time giving us phrases like "as the moon reflects the sun," "come dawn, or Sun of grace," "O lucent Morning Star." ("Lucent" being a sufficiently obscure/distinctive word that they picked it for the hymn tune!) I also think the repetition of phrases like "loving bright, loving bright" is a good case of lower Shannon density--because the un-repeated phrase is just three syllables long, it would sound weird amid lines of length 7 and 8, so doubling it to six makes it flow better.
This is a Spanish translation that's relatively easy to follow along with--it has all kinds of words you might actually learn in class, like "has venido" (have come), "sonriendo" (smiling), "Pescador" (Fisher). They even have "redes" (nets), which I learned to reference the internet! And working backwards is an interesting way to learn more words--"orilla" is the titular "lakeshore," "barca" is "boat" or "small boat." The issue where Spanish sometimes needs more syllables than English shows up again; to make the translation scan, they sometimes have to "pad" extra syllables--"sonriendo" becomes "kindly smiling," "Señor" is "sweet Lord."

And sometimes the repetition can be more striking in the original. "mi cansancio que a otros descanse" becomes "working love for the rest of the weary" [what Jesus needs from us]. But the root word in "cansancio" (tiredness) matches "descanse" ("you need me to tire so that others can rest," loosely?). The image of needing "tiredness" rather than money or weapons from important people is neat.
This is yet another for the subgenre of 1600s Germany being good for complex accompaniment parts and also good for dismal lyrics about death. The first verse gives us imagery like "slaughter, weak and faint." But then it pivots to the relationship between God the Creator and God the Redeemer (who sometimes seem to converse/disagree, as in the Garden of Gethsemane), and we get proper noun stuff like "What love, O Love." And then the narrator addresses Jesus directly: "You clothe me in your royal robes...Your love is dress enough for me." So either Jesus gives us new clothes, and/or Jesus' love is the only clothing we need. Okay...?
Apparently I missed this before, better double-check the numbering for the various sections at some point.

This is the same melody as "Earth and All Stars," and the same guy did the verses too; while it doesn't quite measure up to that one in coolness, it's still good at sounding new and jubilant without being too hippie or over-the-top. We get an interesting twist on the "Jesus=Proper Nouns" motif with the use of small caps "I Am."
As promised, here's the one about "heart compassionate." Actually these two are even more similar than that suggests; the last verse of that one starts "O God, whose heart compassionate bears every human pain;" this one in its first line is "O Christ, your heart, compassionate, bore every human pain." This one was written four years later, I wonder if someone dared him to use this as a jumping-off point and he ran with it?!

"O Love that made the distant stars, yet marks the sparrow's fall" is great (and probably qualifies this one for Jesus=Proper Nouns). But the "heart" metaphors zigzag between "join our hearts with those who weep" to then "create new hearts in us that beat in time with yours." Depending on how screwed up I'm feeling, there can be quite a difference between those! Like, getting a new heart that's more aligned with Jesus' would be great. But lacking that, having my heart linked with someone else who's hurting doesn't feel like it's very useful, just spreading the misery.
Well, in the title, both Light and Radiance are capitalized, but in the text, Radiance is but light isn't. I guess it still counts as proper nouns. :p

Lots of large tenor/bass gaps.

Translation by committee gives us "grace/maze" (and also "praise/grace" in a different verse!) Most of the emphasis is on, and I'm paraphrasing, asking God's light to be revealed to people who are sinful and/or doubting. But there's an interesting pivot in verse three to "take away the needless fears of those who tremble to express the faith their inmost hearts confess." I'm wondering whether in Heermann's day that was more a threat of religious warfare (you don't want to be too obviously Protestant in a Catholic principality, or vice-versa?) Versus today when it can, somewhat anachronistically, be read as "help people to express their faith who are just ashamed of it."
We've seen this melody before but this one has a different harmonization; this version has a fairly boring alto part, but both of them have huge tenor/bass gaps (in slightly different places)!

Text-wise, we get Jesus as Guardian in caps, and an interesting swerve from plural to singular in the last verse: "you have promised to all who follow you, that where you are...your servant shall be." I would expect "servants" both to parallel with "all" and because "community rather than individual salvation" seems to be a popular theology, but that doesn't really fit with the "help me to lead my life well" themes of the rest of the song.
So last time around we covered the Argentine "Holy, Holy, Holy." That melody (although with a slightly different harmonization!) becomes the refrain to this one, but now the text is in English and referencing Jesus as the bread of life.

And then there are several verses to a different melody. The name for that tune is "Break Now The Bread," which is also the beginning of the first verse, but not to be confused with this "Break Now The Bread."  Which means that the overall combination is one of the rare double hymn tunes!

We also get "Holy One" for the Jesus=Proper Nouns category.
This is one of those that's pretty short and the melody doesn't move around much, which means the alto part really doesn't move around much. Oh well.

We have a little bit of Jesus=Proper Nouns; he is the "Hope" of repentant souls and the "Joy" of the meek. In some of the Advent traditions, hope and joy are two of the attributes associated with the four weeks of the season, but they're generic enough good things that it's probably a coincidence.

Done with this section too, we're zooming by! (Not really.)
Pentatonic melody, Chinese text. I don't know any Chinese, but I can guess which words (in their transliteration) correspond to "Bethlehem," "Christ," and "God"; it's "Boliheng," "Shengzi," and "Shangzhu" respectively, because those are the only proper nouns! So rather than a case of Jesus being personified as the Word or the Life or the Way for proper noun times, this is a multilingual bonus.
This is a harvest-themed text so it makes sense that it would be in this section, there are several others about returning the fruits of our labors to God, but it is kind of amusing that its title is basically the name of another (albeit very long) section.

Edge case of Jesus=Proper Nouns; we get capital "Wisdom" following shortly after "Father." In this context it's probably a reference to the personification of Wisdom as a woman seen in Proverbs, who is sometimes equated with the Holy Spirit, but it's pretty surprising to see that without anything else like Son, Lord, Light, etc. referencing Jesus.

A lot of feminine rhymes that are masculine ones in disguise (it's this melody), but we get some originality with "sown fields/mown fields," "tilling/milling."
This is another arrangement of the song of Zechariah; in fact, both of these have the exact same first line, which obviously means same title too. We also get duplicate rhymes with "way" (John the Baptist prepares the way) and "peace" (God's love leads us into peace). This one, unlike the previous version, has a harmonization with large bass/tenor gaps. We also get some Jesus=Proper Nouns as the "Branch" of King David's tree/family.
This text is by our well-travelled friend Ernest Ryden. It's an adaptation of the Song of Simeon, previously featured in the "End Time" section (there are several others in the service music section, which actually makes sense because it's often sung at the end of worship). Even less clear why it's here. There's a lot of "Jesus=Light" imagery associated with the Transfiguration, which is at the end of the Epiphany season, so maybe that? The Transfiguration hymns sort of form a mini-section within this one.

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