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Hymnals

Published hymn books and other collections

El Himnario Presbiteriano

Publication Date: 1999 Publisher: Geneva Press Publication Place: Louisville Editors: Raquel Gutiérrez-Achón

Nuestra esperanza y protección

Author: Isaac Watts; Federico J. Pagura Meter: 8.6.8.6 Appears in 11 hymnals Topics: Funerales; Seguridad; Confianza Scripture: Psalm 90 Used With Tune: ST. ANNE Text Sources: Paráfrasis del Salmo 90

Sagrado es el amor

Author: John Fawcett; Anónimo Meter: 6.6.8.6 Appears in 27 hymnals Lyrics: 1 Sagrado es el amor que nos ha unido aquí, a los que oímos del Señor la voz que llama así. 2 Nos vamos a ausentar, mas nuestra firme unión jamás podrá se quebrantar por la separación. 3 A nuestro Padre Dios, rogamos con fervor; alúmbrenos la misma luz, nos una el mismo amor. 4 Concédenos, Señor, la gracia y bendición del Padre, Hijo Redentor y del Consolador. Topics: Unidad Scripture: Ephesians 4:1-6 Used With Tune: DENNIS

Canta, canta, alma mía

Author: Henry Francis Lyte; Roberto E. Ríos; Lorenzo Álvarez Meter: 8.7.8.7.8.7 Appears in 5 hymnals Topics: Dios Su Alabanza Scripture: Psalm 150 Used With Tune: LAUDA ANIMA

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Tunes

Tune authorities

HOLLINGSIDE

Meter: 7.7.7.7.7 Appears in 285 hymnals Composer and/or Arranger: John B. Dykes Incipit: 35655 43176 53123 Used With Text: Que mi vida entera esté

EIN' FESTE BURG

Meter: 8.7.8.7.6.6.6.6.7 Appears in 642 hymnals Composer and/or Arranger: Martín Lutero Incipit: 11156 71765 17656 Used With Text: Castillo fuerte es nuestro Dios

ST. GEORGE'S WINDSOR

Meter: 8.7.8.7.8.8.7.7.7.7 Appears in 647 hymnals Composer and/or Arranger: George J. Elvey Incipit: 33531 23335 31233 Used With Text: ¡Gloria a Dios en las alturas!

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Instances

Published text-tune combinations (hymns) from specific hymnals

Cantad al Señor

Author: Felipe Blycker J. Hymnal: EHP1999 #1 (1999) Meter: 11.10.11.10 First Line: Cantad al Señor un cántico nuevo Lyrics: 1 Cantad al Señor un cántico nuevo, cantad al Señor un cántico nuevo, cantad al Señor un cántico nuevo, cantad al Señor, cantad al Señor. 2 El es creador y dueño de todo, El es creador y dueño de todo, El es creador y dueño de todo; cantad al Señor, cantad al Señor. 3 Cantad a Jesús porque Él es digno, cantad a Jesús porque Él es digno, cantad a Jesús porque Él es digno; cantad al Señor, cantad al Señor. 4 Es Él quien nos dio su Espíritu Santo, Es Él quien nos dio su Espíritu Santo, Es Él quien nos dio su Espíritu Santo; cantad al Señor, cantad al Señor. 5 Cantad al Señor, “¡Amén, aleluya!” Cantad al Señor, “¡Amén, aleluya!” Cantad al Señor, “¡Amén, aleluya!” Cantad al Señor, cantad al Señor. Topics: Dios Su Naturaleza y Alabanza; Dios Su Alabanza; Dios Su Alabanza Scripture: Psalm 98:1-3 Languages: Spanish Tune Title: CANTAI AO SENHOR

Es tiempo de que alabemos de Dios

Author: Ramón Díaz Hymnal: EHP1999 #2 (1999) Meter: Irregular Refrain First Line: Amén! Amén! Amén! resuene nuestra voz Lyrics: 1 Es tiempo de que alabemos de Dios, es tiempo de alabanza, pues los justos y los fieles ya de Dios la gloria ven. Cantemos todos con vibrante voz, cantemos al Dios del bien y digamos: "Bendito el nombre de Dios" y entonemos a coro un "¡Amén!" Estribillo: ¡Amén! Amén! Amén! resuene nuestra voz. ¡Amén! los fieles digan y alaben el nombre de Dios. ¡Amén! Amén! Amén! ¡Ha llegado la gran bendición! Alabemos con gozo Eterno y un grito del alma exhalen en ¡Amen! Alabemos con gozo Eterno y un grito del alma exhalen en ¡Amen! 2 Esta es la hora precisa en que aqui los fieles nos congregamos y alabanzas entonamos al gran Dios de todo bien. Y comprendemos que sólo en Dios encontraremos sostén; y no puede, por tanto, vencernos el mal cuando a coro cantamos: ¡Amén!" [Estribillo] 3 Este es el bello momento de otar por todos los pecadores; de la gloria los fulgores ya los justos todos ven. Allá en la excelsa mansión celestial cerca del gran Dios del bien, cantan ángeles con my dulcísima voz y en su cántico dicen: ¡Amén! [Estribillo] Topics: Dios Su Naturaleza y Alabanza; Dios Su Alabanza Scripture: Psalm 41:13 Languages: Spanish Tune Title: AVIVAMIENTO

Al despuntar en la loma el día

Author: Heber Romero Hymnal: EHP1999 #3 (1999) Meter: Irregular Topics: Dios Su Naturaleza y Alabanza; Dios Su Alabanza; Matutina, Oración Scripture: Psalm 8 Languages: Spanish Tune Title: AL DESPUNTAR EL DIA

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People

Authors, composers, editors, etc.

Anonymous

Person Name: Anónimo Hymnal Number: 220 Translator of "Sagrado es el amor" in El Himnario Presbiteriano In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.

K.

Person Name: K Hymnal Number: 224 Author of "¡Cuán firme cimiento!" in El Himnario Presbiteriano In John Rippon's A Selection of Hymns (1787, plus numerous subsequent editions), "How Firm a Foundation" (no. 128) is attributed simply to "K—". Two other hymns in the collection bear the same mark, "In songs of sublime adoration and praise," and "The Bible is justly esteemed." The author of the hymn has never been definitively identified, but the most common candidates are listed below. I. Robert Keen(e) The most likely possibility is Robert Keene, who served as precentor at Rippon's church. The evidence for connecting K with Keene comes (1) from his close acquaintance with Rippon, (2) Rippon's tune book, and (3) the testimony (of sorts) of Thomas Walker. After Rippon started publishing a tune book, A Selection of Psalm and Hymn Tunes (1792), to go with his hymnal, both books were cross-referenced against each other; the tunes suggested for "How Firm a Foundation" were GEARD (no. 156) and BROUGHTON (no. 172). Both GEARD and BROUGHTON first appeared in Rippon's tune book and were probably written for it. BROUGHTON is by T. [Thomas] Walker., and GEARD is by R. [Robert] Keene, thus the association with "K.", but the connection is speculative at best. Julian, in his article on "How Firm" in the Dictionary of Hymnology, notes that Walker later assisted Alexander Fletcher with his A Collection of Hymns (1822), and in that collection the text is attributed to Keen. II. George Keith In Josiah Miller's Singers and Songs of the Church (1869), "How Firm" is attributed to George Keith. According to Julian, the motivation behind this attribution was Daniel Sedgwick—-Miller credits him in the preface with having contributed special hymnological knowledge--yet Julian notes that Sedgwick garnered his information from "an old woman whom Sedgwick met in an almshouse." Keith was a publisher in London, and was the son-in-law of Dr. Gill, Rippon's distinguished predecessor at Carter Lane. III. Thomas Kirkham In 19th century editions of Rippon's Selection, the hymn was attributed to "Kirkham." Thomas Kirkham published A Collection of Hymns in 1788, yet "How Firm" was not included. His connection to Rippon is unclear. IV. Kennedy/Kennady Still other collections offer a different possiblity: a Kennedy or Kennady. This attribution appears as early as 1826 in Nettleton's Village Hymns. In Spurgeon's Our Own Hymn Book (1866), he offers "Kirkham or Kennedy, 1787." This person has yet to be identified. V. John Rippon In his preface to the Selection, Rippon wrote: In most places, where the names of the authors were known, they are put at full length, but the hymns which are not so distinguished, or which have only a single letter prefixed to them, were, many of them composed by a person unknown, or else have undergone some considerable alterations. Since Rippon is known to have significantly altered hymns in his collection ("All hail the power of Jesus' name," being a notable example), Rippon likely deserves at least partial credit for texts bearing the mark "K." —Chris Fenner with contributions from Eric Stedfeld, Peter Irvine, and Peter Rehwaldt See also "How Firm a Foundation".

Reginald Heber

1783 - 1826 Hymnal Number: 24 Author of "¡Santo! ¡Santo! ¡Santo!" in El Himnario Presbiteriano Reginald Heber was born in 1783 into a wealthy, educated family. He was a bright youth, translating a Latin classic into English verse by the time he was seven, entering Oxford at 17, and winning two awards for his poetry during his time there. After his graduation he became rector of his father's church in the village of Hodnet near Shrewsbury in the west of England where he remained for 16 years. He was appointed Bishop of Calcutta in 1823 and worked tirelessly for three years until the weather and travel took its toll on his health and he died of a stroke. Most of his 57 hymns, which include "Holy, Holy, Holy," are still in use today. -- Greg Scheer, 1995 ==================== Heber, Reginald, D.D. Born at Malpas, April 21, 1783, educated at Brasenose College, Oxford; Vicar of Hodnet, 1807; Bishop of Calcutta, 1823; died at Trichinopoly, India, April 3, 1826. The gift of versification shewed itself in Heber's childhood; and his Newdigate prize poem Palestine, which was read to Scott at breakfast in his rooms at Brazenose, Oxford, and owed one of its most striking passages to Scott's suggestion, is almost the only prize poem that has won a permanent place in poetical literature. His sixteen years at Hodnet, where he held a halfway position between a parson and a squire, were marked not only by his devoted care of his people, as a parish priest, but by literary work. He was the friend of Milman, Gifford, Southey, and others, in the world of letters, endeared to them by his candour, gentleness, "salient playfulness," as well as learning and culture. He was on the original staff of The Quarterly Review; Bampton Lecturer (1815); and Preacher at Lincoln's Inn (1822). His edition of Jeremy Taylor is still the classic edition. During this portion of his life he had often had a lurking fondness for India, had traced on the map Indian journeys, and had been tempted to wish himself Bishop of Calcutta. When he was forty years old the literary life was closed by his call to the Episcopate. No memory of Indian annals is holier than that of the three years of ceaseless travel, splendid administration, and saintly enthusiasm, of his tenure of the see of Calcutta. He ordained the first Christian native—Christian David. His first visitation ranged through Bengal, Bombay, and Ceylon; and at Delhi and Lucknow he was prostrated with fever. His second visitation took him through the scenes of Schwartz's labours in Madras Presidency to Trichinopoly, where on April 3,1826, he confirmed forty-two persons, and he was deeply moved by the impression of the struggling mission, so much so that “he showed no appearance of bodily exhaus¬tion." On his return from the service ”He retired into his own room, and according to his invariable custom, wrote on the back of the address on Confirmation 'Trichinopoly, April 3, 1826.' This was his last act, for immediately on taking off his clothes, he went into a large cold bath, where he had bathed the two preceding mornings, but which was now the destined agent of his removal to Paradise. Half an hour after, his servant, alarmed at his long absence, entered the room and found him a lifeless corpse." Life, &c, 1830, vol. ii. p. 437. Heber's hymns were all written during the Hodnet period. Even the great missionary hymn, "From Greenland's icy mountains," notwithstanding the Indian allusions ("India's coral strand," "Ceylon's isle"), was written before he received the offer of Calcutta. The touching funeral hymn, "Thou art gone to the grave," was written on the loss of his first babe, which was a deep grief to him. Some of the hymns were published (1811-16) in the Christian Observer, the rest were not published till after his death. They formed part of a ms. collection made for Hodnet (but not published), which contained, besides a few hymns from older and special sources, contributions by Milman. The first idea of the collection appears in a letter in 1809 asking for a copy of the Olney Hymns, which he "admired very much." The plan was to compose hymns connected with the Epistles and Gospels, to be sung after the Nicene Creed. He was the first to publish sermons on the Sunday services (1822), and a writer in The Guardian has pointed out that these efforts of Heber were the germs of the now familiar practice, developed through the Christian Year (perhaps following Ken's Hymns on the Festivals), and by Augustus Hare, of welding together sermon, hymnal, and liturgy. Heber tried to obtain from Archbishop Manners Sutton and the Bishop of London (1820) authorization of his ms. collection of hymns by the Church, enlarging on the "powerful engine" which hymns were among Dissenters, and the irregular use of them in the church, which it was impossible to suppress, and better to regulate. The authorization was not granted. The lyric spirit of Scott and Byron passed into our hymns in Heber's verse; imparting a fuller rhythm to the older measures, as illustrated by "Oh, Saviour, is Thy promise fled," or the martial hymn, "The Son of God goes forth to war;" pressing into sacred service the freer rhythms of contemporary poetry (e.g. "Brightest and best of the sons of the morning"; "God that madest earth and heaven"); and aiming at consistent grace of literary expression.. Their beauties and faults spring from this modern spirit. They have not the scriptural strength of our best early hymns, nor the dogmatic force of the best Latin ones. They are too flowing and florid, and the conditions of hymn composition are not sufficiently understood. But as pure and graceful devotional poetry, always true and reverent, they are an unfailing pleasure. The finest of them is that majestic anthem, founded on the rhythm of the English Bible, "Holy, Holy, Holy, Lord God Almighty." The greatest evidence of Heber's popularity as a hymnwriter, and his refined taste as a compiler, is found in the fact that the total contents of his ms. collection which were given in his posthumous Hymns written and adapted to the Weekly Church Service of the Year. London, J. Murray, 1827; which included 57 hymns by Heber, 12 by Milman, and 29 by other writers, are in common in Great Britain and America at the present time. [Rev. H. Leigh Bennett, M.A.] Of Bishop Heber's hymns, about one half are annotated under their respective first lines. Those given below were published in Heber's posthumous Hymns, &c, 1827. Some of them are in extensive use in Great Britain and America; but as they possess no special histories they are grouped together as from the Hymns, &c, 1827:— 1. Beneath our feet, and o'er our head. Burial. 2. Creator of the rolling flood. St. Peter's Day, or, Gospel for 6th Sunday after Trinity. 3. Lo, the lilies of the field. Teachings of Nature: or, Gospel for 15th Sunday after Trinity. 4. 0 God, by Whom the seed is given. Sexagesima. 6. 0 God, my sins are manifold. Forgiveness, or, Gospel for 22nd S. after Trinity. 6. 0 hand of bounty, largely spread. Water into Wine, or, Gospel for 2nd S. after Epiphany. 7. 0 King of earth, and air, and sea. Feeding the Multitude; or, Gospel for 4th S. in Lent. 8. 0 more than merciful, Whose bounty gave. Good Friday. 9. 0 most merciful! 0 most bountiful. Introit Holy Communion. 10. 0 Thou, Whom neither time nor space. God unsearchable, or, Gospel for 5th Sunday in Lent. 11. 0 weep not o'er thy children's tomb. Innocents Day. 12. Room for the proud! Ye sons of clay. Dives and Lazarus, or, Gospel for 1st Sunday after Trinity. 13. Sit thou on my right hand, my Son, saith the Lord. Ascension. 14. Spirit of truth, on this thy day. Whit-Sunday. 15. The feeble pulse, the gasping breath. Burial, or, Gospel for 1st S. after Trinity. 16. The God of glory walks His round. Septuagesima, or, the Labourers in the Marketplace. 17. The sound of war in earth and air. Wrestling against Principalities and Powers, or, Epistle for 2lst Sunday after Trinity. 18. The world is grown old, her pleasures are past. Advent; or, Epistle for 4th Sunday in Advent. 19. There was joy in heaven. The Lost Sheep; or, Gospel for 3rd S. after Trinity. 20. Though sorrows rise and dangers roll. St. James's Day. 21. To conquer and to save, the Son of God. Christ the Conqueror. 22. Virgin-born, we bow before Thee. The Virgin Mary. Blessed amongst women, or, Gospel for 3rd S. in Lent. 23. Wake not, 0 mother, sounds of lamentation. Raising the Widow's Son, or, Gospel for 16th S. after Trinity. 24. When on her Maker's bosom. Holy Matrimony, or, Gospel for 2nd S. after Epiphany. 25. When through the torn sail the wild tempest is streaming. Stilling the Sea, or, Gospel for 4th Sunday after Epiphany. 26. Who yonder on the desert heath. The Good Samaritan, or, Gospel for 13th Sunday after Trinity. This list is a good index of the subjects treated of in those of Heber's hymns which are given under their first lines, and shows that he used the Gospels far more than the Epistles in his work. --John Julian, Dictionary of Hymnology (1907)

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