Mansions of Glory is a fantasy on the hymn, "My Jesus, I Love Thee", music by Adoniram J. Gordon and words by William R. Featherstone. The words and music reflect joy, awe, and the sacrifice of Christ. Therefore, the listener will hear a fluctuation of moods throughout the work. The title of the work is taken from the final verse of the hymn.
Genre: Band | # of Players: Standard
Level: 4 | Duration: 6:40
Bb Clarinet 1
Bb Clarinet 2
Bb Clarinet 3
Alto Saxophone 1/2
Bb Trumpet 1
Bb Trumpet 2
Bb Trumpet 3
Timpani (4 drums)
Percussion 1 (bells, xylophone, crotales - 2 octaves)
Percussion 2 (4.5-octave marimba, vibraphone, brake drum, tam-tam)
Percussion 3 (crash cymbals, tam-tam, suspended cymbal)
Percussion 4 (bass drum, suspended cymbal, crash cymbals, snare drum)
Mansions of Glory is a fantasy on the hymn, "My Jesus, I Love Thee", music by Adoniram J. Gordon and words by William R. Featherstone. The choice of this hymn was in keeping with the commissioning parties, The Lambda Epsilon Chapter of Kappa Kappa Psi and The Theta Beta Chapter of Tau Beta Sigma fraternities, to honor Dr. Craig Hamilton, Director of Bands at Ouachita Baptist University. This hymn is among many of his favorites. The words of the hymn are as follows:
1. My Jesus, I love Thee, I know Thou art mine; For thee all the follies of sin I resign. My gracious Redeemer, my Savior art Thou; If ever I loved Thee, My Jesus, 'tis now.
2. I love Thee because Thou has first loved me, And purchased my pardon on Calvary's tree. I love Thee for wearing the thorns on Thy brow; If I ever loved Thee, my Jesus, 'tis now.
3. I'll love Thee in life, I will love Thee in death And praise Thee as long as Thou lendest me breath; And say when the death dew lies cold on my brow, If ever I loved Thee, My Jesus, 'tis now.
4. In mansions of glory and endless delight, I'll every adore Thee in heaven so bright; I'll sing with the glittering crown on my brow; If ever I loved Thee, my Jesus, 'tis now.
These words reflect joy, awe, and the sacrifice of Christ. Therefore, the listener will hear a fluctuation of moods throughout the work. The title of the work is taken from the final verse of the hymn.
The work begins mysteriously and quietly in Bb minor with sustained marimba and two rising harmonic sixths in the clarinets. The rising sixths begin a pattern of eighth notes in the clarinets that accompany the low brass and horns on a version of the hymn tune in Bb minor (m. 18).
This modulates into F major with the brass dramatically stating the last part of the hymn (m. 43). Remaining in F major, the ensuing section features the piano, bells and vibraphone accompanying the trombones on the hymn tune (m. 51). The piano accompaniment is reminiscent of the clarinet accompaniment at the beginning of the work.
An ominous and aggressive interlude follows in fast tempo giving rise to a four-part fugal exposition in D minor based on the first phrase of the hymn accompanied by high woodwinds and closed hi-hat consisting of a sixteenth note pattern (m. 70).
The sixteenth note pattern continues after the fugal exposition echoing between brass and woodwinds and fluctuating between compound-duple and duple meter (m. 110) and then modulates to A Major when the hymn tune makes a glorious return in 6/8 meter (m. 120).
At midpoint, the hymn modulates to Db major (m. 136) and culminates with a brass fanfare (m. 152). A solo timpani figure (m. 161) leads to a return of piano and bells accompanying statements of the first phrase of the hymn by the low brass and horns (m. 169). A modulation to F major follows (m. 177). Woodwinds and solo euphonium then state the last phrases of the hymn, respectively. A quiet coda follows consisting of accompaniment motives heard at the beginning of the work. (m. 190).
- David R. Gillingham