Jesus Came, Adored by Angels

There is an organ reduction of the music for those choirs needing assistance. Using a text by Godfrey Thring (1823-1903), the music is contrapuntal with a folk-tune character. Later there is a soprano solo, then the lower voices hum while the alto section has the melody. The verses close with Alleluias and the setting builds to a loud closing that evaporates into a quiet ending.
The Diapason
October 2012

Godfrey Thring’s text, known widely paired with Gerald Near’s excellent tune Lowry, gains an intensity specific to choral resources in this homophonic, tonal hymn. Lehman’s entrancing melody, a compelling alternative to Near’s, unfolds phrase by phrase in an additive manner lending a strong sense of forward motion. The composer uses conventional textures for the first three verses, namely melody in soprano, solo baritone accompanied by ATB, and soprano melody with ATB wordless accompaniment. For the final verse, he elaborates on the setting without repeating the melody continuously in any part. A four-voice descant crowns the short piece with a satisfying amount of variety and sense of musical development. Some elements of the original composition are uniquely suited to the original performing forces of men and boys, including some effective widely spaced chords with sopranos a tenth above the alto line, and simpler soprano against more complex ATB (including some divisions). Performance by mixed SATB, however, would be similarly effective. The part writing is very active and challenging, yet tonal logic is apparent throughout.
Robert Lehman, The Journal of the Association of Anglican Musicians