My Starred Hymns
My Hymnals
My Purchased Files
Planning worship?
Check out our sister site, ZeteoSearch.org,
for 20+ additional resources related to your search.
- |
User Links
Search Results
Give Thanks
Author: Henry Smith Appears in 42 hymnals Scripture: 2 Corinthians 8 First Line: [Give Thanks] Text Sources: This Far By Faith (Augsburg Fortress, 2001)
Give Thanks
Grace Greater than Our Sin
Author: Julia H. Johnston Meter: 9.9.9.9 with refrain Appears in 147 hymnals Scripture: 2 Corinthians 8:9 First Line: Marvelous grace of our loving Lord Refrain First Line: Grace, grace, God's grace Lyrics: 1 Marvelous grace of our loving Lord,
grace that exceeds our sin and our guilt,
yonder on Calvary's mount outpoured,
there where the blood of the Lamb was spilt.
Refrain:
Grace, grace, God's grace,
grace that will pardon and cleanse within;
grace, grace, God's grace,
grace that is greater than all our sin.
2 Dark is the stain that we cannot hide,
what can avail to wash it away?
Look! there is flowing a crimson tide;
whiter than snow you may be today. [Refrain]
3 Marvelous, infinite, matchless grace,
freely bestowed on all who believe:
you that are longing to see his face,
will you this moment his grace receive? [Refrain]
Topics: Redemption in Christ Christ's Saving Work; Cleansing; Invitation To Salvation; Jesus Christ Sacrifice; Pardon; Sin Used With Tune: MOODY
Grace Greater than Our Sin
Gelobet seist du, Jesu Christ
Author: M. Luther, 1483-1546 Appears in 93 hymnals Scripture: 2 Corinthians 8:9 Topics: Weihnacht
Gelobet seist du, Jesu Christ
GIVE THANKS
Appears in 42 hymnals Composer and/or Arranger: Henry Smith, b. 1952 Scripture: 2 Corinthians 8:9 Tune Key: F Major Incipit: 33212 75217 67537 Used With Text: Give Thanks with a Grateful Heart
GIVE THANKS
GELOBET SEIST DU
Meter: 8.7.8.8.4 Appears in 29 hymnals Scripture: 2 Corinthians 8:9 Tune Sources: Eyn Enchridion oder Handbüchlein, Erfurt, 1524; Setting: The Lutheran Hymnal, 1941, alt. Tune Key: c minor or modal Incipit: 55565 12172 32165 Used With Text: We Praise You, Jesus, at Your Birth
GELOBET SEIST DU
GRANDVILLE
Appears in 1 hymnal Composer and/or Arranger: Ken Medema; Linda A. Missad Scripture: 2 Corinthians 8:1-9 Tune Key: e minor Incipit: 12332 21134 55443 Used With Text: God, We Give to You Our Offerings
GRANDVILLE
Generosity
Hymnal: Seventh-day Adventist Hymnal #821 (1985) Scripture: 2 Corinthians 8, 9 First Line: See that you ... excel in this grace of giving Topics: Scripture Readings
Generosity
Gentle Jesus, Meek and Mild
Author: Charles Wesley Hymnal: Hymns from the Four Winds #97 (1983) Scripture: 2 Corinthians 8:9 Lyrics: 1 Gentle Jesus, meek and mild,
Look upon a little child;
Pity my simplicity;
Suffer me to come to thee.
2 Lamb of God, I look to thee;
Thou shalt my example be;
Thou art gentle, meek, and mild;
Thou wast once a little child.
3 Fain I would be as thou art;
Give me thy obedient heart.
Thou art pitiful and kind;
Let me have thy loving mind.
4 Loving Jesus, gentle Lamb,
In thy gracious hands I am;
Make me, Savior, what thou art;
Live thyself within my heart.
Amen. Topics: Children; God Grace of God; Responses to God Prayer; Jesus Christ Life and Presence; The Christian Life Confession, Mercy, Forgiveness; The Christian Life Guidance; The Christian Life Liberation and Justice Languages: English Tune Title: SINIM
Gentle Jesus, Meek and Mild
Grace Greater than Our Sin
Author: Julia H. Johnston, 1849-1919 Hymnal: Worship and Rejoice #353 (2003) Meter: 9.9.9.9 with refrain Scripture: 2 Corinthians 8:9 First Line: Marvelous grace of our loving Lord Refrain First Line: Grace, grace, God's grace Lyrics: 1 Marvelous grace of our loving Lord,
grace that exceeds our sin and our guilt,
yonder on Calvary's mount outpoured,
there where the blood of the Lamb was spilt.
Refrain:
Grace, grace, God's grace,
grace that will pardon and cleanse within;
grace, grace, God's grace,
grace that is greater than all our sin.
2 Dark is the stain that we cannot hide;
what can avail to wash it away?
Look! there is flowing a crimson tide;
whiter than snow you may be today. [Refrain]
3 Marvelous, infinite, matchless grace,
freely bestowed on all who believe:
you that are longing to see his face,
will you this moment his grace receive? [Refrain] Languages: English Tune Title: MOODY
Grace Greater than Our Sin
Henry J. Gauntlett
1805 - 1876 Person Name: Henry John Gauntlett, 1805-1876 Scripture: 2 Corinthians 8:9 Composer of "IRBY" in Singing the Faith Henry J. Gauntlett (b. Wellington, Shropshire, July 9, 1805; d. London, England, February 21, 1876) When he was nine years old, Henry John Gauntlett (b. Wellington, Shropshire, England, 1805; d. Kensington, London, England, 1876) became organist at his father's church in Olney, Buckinghamshire. At his father's insistence he studied law, practicing it until 1844, after which he chose to devote the rest of his life to music. He was an organist in various churches in the London area and became an important figure in the history of British pipe organs. A designer of organs for William Hill's company, Gauntlett extended the organ pedal range and in 1851 took out a patent on electric action for organs. Felix Mendelssohn chose him to play the organ part at the first performance of Elijah in Birmingham, England, in 1846. Gauntlett is said to have composed some ten thousand hymn tunes, most of which have been forgotten. Also a supporter of the use of plainchant in the church, Gauntlett published the Gregorian Hymnal of Matins and Evensong (1844).
Bert Polman
Henry J. Gauntlett
Orlando Gibbons
1583 - 1625 Person Name: Orlando Gibbons, 1583-1625 Scripture: 2 Corinthians 8:9 Composer of "SONG 13" in Common Praise Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was an English composer, virginalist and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day.
Gibbons was born in Cambridge and christened at Oxford the same year – thus appearing in Oxford church records.
Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university in 1598 and achieved the degree of Bachelor of Music in 1606. James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and a monument to him was built in Canterbury Cathedral. A suspicion immediately arose that Gibbons had died of the plague, which was rife in England that year. Two physicians who had been present at his death were ordered to make a report, and performed an autopsy, the account of which survives in The National Archives:
We whose names are here underwritten: having been called to give our counsels to Mr. Orlando Gibbons; in the time of his late and sudden sickness, which we found in the beginning lethargical, or a profound sleep; out of which, we could never recover him, neither by inward nor outward medicines, & then instantly he fell in most strong, & sharp convulsions; which did wring his mouth up to his ears, & his eyes were distorted, as though they would have been thrust out of his head & then suddenly he lost both speech, sight and hearing, & so grew apoplectical & lost the whole motion of every part of his body, & so died. Then here upon (his death being so sudden) rumours were cast out that he did die of the plague, whereupon we . . . caused his body to be searched by certain women that were sworn to deliver the truth, who did affirm that they never saw a fairer corpse. Yet notwithstanding we to give full satisfaction to all did cause the skull to be opened in our presence & we carefully viewed the body, which we found also to be very clean without any show or spot of any contagious matter. In the brain we found the whole & sole cause of his sickness namely a great admirable blackness & syderation in the outside of the brain. Within the brain (being opened) there did issue out abundance of water intermixed with blood & this we affirm to be the only cause of his sudden death.
His death was a shock to peers and the suddenness of his passing drew comment more for the haste of his burial – and of its location at Canterbury rather than the body being returned to London. His wife, Elizabeth, died a little over a year later, aged in her mid-30s, leaving Orlando's eldest brother, Edward, to care for the children left orphans by this event. Of these children only the eldest son, Christopher Gibbons, went on to become a musician.
One of the most versatile English composers of his time, Gibbons wrote a quantity of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being "The Silver Swan"), and many popular verse anthems. His choral music is distinguished by his complete mastery of counterpoint, combined with his wonderful gift for melody. Perhaps his most well known verse anthem is This is the record of John, which sets an Advent text for solo countertenor or tenor, alternating with full chorus. The soloist is required to demonstrate considerable technical facility at points, and the work at once expresses the rhetorical force of the text, whilst never being demonstrative or bombastic. He also produced two major settings of Evensong, the Short Service and the Second Service. The former includes a beautifully expressive Nunc dimittis, while the latter is an extended composition, combining verse and full sections. Gibbons's full anthems include the expressive O Lord, in thy wrath, and the Ascension Day anthem O clap your hands together for eight voices.
He contributed six pieces to the first printed collection of keyboard music in England, Parthenia (to which he was by far the youngest of the three contributors), published in about 1611. Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits full mastery of three- and four-part counterpoint. Most of the fantasias are complex, multisectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody in both fantasias and dances features a capability for almost limitless development of simple musical ideas, on display in works such as Pavane in D minor and Lord Salisbury's Pavan and Galliard.
In the 20th century, the Canadian pianist Glenn Gould championed Gibbons's music, and named him as his favorite composer. Gould wrote of Gibbons's hymns and anthems: "ever since my teen-age years this music ... has moved me more deeply than any other sound experience I can think of." In one interview, Gould compared Gibbons to Beethoven and Webern:
...despite the requisite quota of scales and shakes in such half-hearted virtuoso vehicles as the Salisbury Galliard, one is never quite able to counter the impression of music of supreme beauty that lacks its ideal means of reproduction. Like Beethoven in his last quartets, or Webern at almost any time, Gibbons is an artist of such intractable commitment that, in the keyboard field, at least, his works work better in one's memory, or on paper, than they ever can through the intercession of a sounding-board.
To this day, Gibbons's obit service is commemorated every year in King's College Chapel, Cambridge.
--wikipedia.org
Orlando Gibbons
Fred Pratt Green
1903 - 2000 Scripture: 2 Corinthians 8:7-15 Author of "The Church of Christ in Every Age" in Glory to God The name of the Rev. F. Pratt Green is one of the best-known of the contemporary school of hymnwriters in the British Isles. His name and writings appear in practically every new hymnal and "hymn supplement" wherever English is spoken and sung. And now they are appearing in American hymnals, poetry magazines, and anthologies.
Mr. Green was born in Liverpool, England, in 1903. Ordained in the British Methodist ministry, he has been pastor and district superintendent in Brighton and York, and now served in Norwich. There he continued to write new hymns "that fill the gap between the hymns of the first part of this century and the 'far-out' compositions that have crowded into some churches in the last decade or more."
--Seven New Hymns of Hope , 1971. Used by permission.
Fred Pratt Green
