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Search Results

All:love

Looking for other resources related to Love? Check out PreachingandWorship.org.

Texts

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What Wondrous Love Is This

Meter: 12.9.12.9 Appears in 206 hymnals First Line: What wondrous love is this, O my soul, O my soul Lyrics: 1 What wondrous love is this, O my soul, ... O my soul, what wondrous love is this, O my soul ... ! What wondrous love is this that caused the ... Topics: God Love and Grace of Scripture: 1 Corinthians 15:54-57 Used With Tune: WONDROUS LOVE Text Sources: American folk hymn
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Love Divine, All Loves Excelling

Author: Charles Wesley Meter: 8.7.8.7 D Appears in 1,635 hymnals Lyrics: 1. Love divine, all loves excelling, joy of heaven, to ... art all compassion, pure, unbounded love thou art; visit us with ... . 2. Breathe, O breathe thy loving Spirit into every troubled breast ... ceasing, glory in thy perfect love. 4. Finish, then, thy new ... Topics: Love Used With Tune: BEECHER
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Love Lifted Me

Author: James Rowe Meter: 7.6.7.6.7.6.7.4 with refrain Appears in 228 hymnals First Line: I was sinking deep in sin Refrain First Line: Love lifted me! Love lifted me! Lyrics: ... safe am I. Refrain: Love lifted me! Love lifted me! When nothing ... else could help, Love lifted me! Love lifted me! Love lifted me! When ... nothing else could help, Love lifted me! 2 All my ... soul's best songs; Faithful loving service, too, To Him belongs ... Topics: Christ Grace, Love and Mercy; Love God's Love Used With Tune: SAFETY

Tunes

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OH, HOW I LOVE JESUS

Meter: 8.6.8.6 with refrain Appears in 123 hymnals Tune Key: A Flat Major Incipit: 13332 31111 22212 Used With Text: Oh, How I Love Jesus
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WONDROUS LOVE

Composer: Paul J. Christiansen Meter: 12.9.12.9 Appears in 82 hymnals Tune Sources: USA folk hymn Tune Key: d minor or modal Incipit: 11724 54211 72576 Used With Text: What Wondrous Love Is This
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ST. COLUMBA

Meter: 8.7.8.7 Appears in 131 hymnals Tune Sources: Irish melody; harm. from The English Hymnal, 1906 Tune Key: D Major Incipit: 12345 45321 12345 Used With Text: The King of Love My Shepherd Is

Instances

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Published text-tune combinations (hymns) from specific hymnals

Love, love, love, love, The gospel in a word is love

Hymnal: Let's just Praise the Lord (Music Edition) #4 (1978) Tune Title: [Love, love, love, love, The gospel in a word is love]

Love, Love, Love

Author: Herbert Brokering Hymnal: Sing and Rejoice! #68 (1979) First Line: Love, love, love! That's what it's all about! Topics: Love Languages: English Tune Title: [Love, love, love! That's waht it's all about]
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Love

Author: B. B. McK. Hymnal: The Modern Hymnal #450 (1926) First Line: Love led my Savior from glory-land Refrain First Line: Love, love, love, love Lyrics: ... love, love, love. Refrain: Love, love, love, love, Wonderful love so free, Love, love, love, love, Saved a poor sinner like me; Love, love, love, love ... Topics: Love Languages: English Tune Title: [Love led my Savior from glory-land]

People

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Authors, composers, editors, etc.

Henry J. Gauntlett

1805 - 1876 Person Name: Henry John Gauntlett Composer of "ST. FULBERT" in The Cyber Hymnal Henry J. Gauntlett; b. 1805, Wellington, England; d. 1876, London England Evangelical Lutheran Hymnal, 1908

Alfred B. Smith

1916 - 2001 Composer of "[For God so loved the world]" in Sheng tu shi ge = Hymnary (聖徒詩歌) Used pseudonym B. C. Laurelton

Orlando Gibbons

1583 - 1625 Person Name: Orlando Gibbons, 1583-1625 Tune and bass line of "SONG 13" in Lutheran Worship 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

Hymnals

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Published hymn books and other collections

The Methodist Hymn-Book with Tunes

Publication Date: 1933 Publisher: Methodist Conference Office Publication Place: London

Small Church Music

Editors: Martin E. Leckebusch Description: The SmallChurchMusic site was commenced in 2006 grew out of the requests from those struggling to provide suitable music for their services and meetings. Rev. Clyde McLennan was ordained in mid 1960’s and was a pastor in many small Australian country areas, and therefore was acutely aware of this music problem. Having also been trained as a Pipe Organist, recordings on site (which are a subset of the smallchurchmusic.com site) are all actually played by Clyde, and also include piano and piano with organ versions. All recordings are in MP3 format. Churches all around the world use the recordings, with downloads averaging over 60,000 per month. The recordings normally have an introduction, several verses and a slowdown on the last verse. Users are encouraged to use software: Audacity (http://www.audacityteam.org) or Song Surgeon (http://songsurgeon.com) (see http://scm-audacity.weebly.com for more information) to adjust the MP3 number of verses, tempo and pitch to suit their local needs. Copyright notice: Rev. Clyde McLennan, performer in this collection, has assigned his performer rights in this collection to Hymnary.org. Non-commercial use of these recordings is permitted. For permission to use them for any other purposes, please contact manager@hymnary.org. Home/Music(smallchurchmusic.com) List SongsAlphabetically List Songsby Meter List Songs byTune Name About  

Christian Classics Ethereal Hymnary

Publication Date: 2007 Publisher: Grand Rapids, MI: Christian Classics Ethereal Library

Products

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