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The day is past and over
Author: Rev. J. M. Neale; Anatolius, 8th cent Meter: 7.6.7.6.8.8 Appears in 304 hymnals Topics: Evening Used With Tune: ST. ANATOLIUS
The day is past and over
To Father, Son and Spirit
Meter: 7.6.7.6.8.8 Appears in 2 hymnals Lyrics: To Father, Son, and Spirit,
God ever Three in One,
Let glory due Thy merit,
By angel choirs begun,
As in the countless ages past,
Be sung while endless ages last.
Amen.
To Father, Son and Spirit
LIEBSTER JESU (DESSAU)
Meter: 7.6.7.6.8.8 Appears in 267 hymnals Composer and/or Arranger: J. R. Ahle, 1625-1673; J. S. Bach, 1685-1750 Tune Key: G Major Incipit: 31253 12176 12321 Used With Text: Word of God, come down on earth
LIEBSTER JESU (DESSAU)
ST. ANATOLIUS (DYKES)
Meter: 7.6.7.6.8.8 Appears in 34 hymnals Composer and/or Arranger: John B. Dykes Tune Key: G Major Incipit: 17143 32236 67121 Used With Text: The day is past and over
ST. ANATOLIUS (DYKES)
ST. ANATOLIUS
Meter: 7.6.7.6.8.8 Appears in 103 hymnals Composer and/or Arranger: Arthur H. Brown Tune Key: E Flat Major Incipit: 56514 32123 46556 Used With Text: The day is past and over
ST. ANATOLIUS
To Father, Son and Spirit
Hymnal: The Hymnal, Revised and Enlarged, as adopted by the General Convention of the Protestant Episcopal Church in the United States of America in the year of our Lord 1892 #D22 (1894) Meter: 7.6.7.6.8.8 Lyrics: To Father, Son, and Spirit,
God ever Three in One,
Let glory due Thy merit,
By angel choirs begun,
As in the countless ages past,
Be sung while endless ages last.
Amen. Languages: English
To Father, Son and Spirit
The day is past and over
Hymnal: The Sarum Hymnal #15 (1869) Meter: 7.6.7.6.8.8
The day is past and over
The day is past and over
Author: Anatolius; J. M. Neale Hymnal: The Church Hymnal #16b (1898) Meter: 7.6.7.6.8.8 Topics: Daily Prayer Evening; Protection Tune Title: ST. ANATOLIUS NO. 2
The day is past and over
Joseph Barnby
1838 - 1896 Meter: 7.6.7.6.8.8 Composer of "ST. ANATOLIUS (Barnby)" Joseph Barnby (b. York, England, 1838; d. London, England, 1896) An accomplished and popular choral director in England, Barby showed his musical genius early: he was an organist and choirmaster at the age of twelve. He became organist at St. Andrews, Wells Street, London, where he developed an outstanding choral program (at times nicknamed "the Sunday Opera"). Barnby introduced annual performances of J. S. Bach's St. John Passion in St. Anne's, Soho, and directed the first performance in an English church of the St. Matthew Passion. He was also active in regional music festivals, conducted the Royal Choral Society, and composed and edited music (mainly for Novello and Company). In 1892 he was knighted by Queen Victoria. His compositions include many anthems and service music for the Anglican liturgy, as well as 246 hymn tunes (published posthumously in 1897). He edited four hymnals, including The Hymnary (1872) and The Congregational Sunday School Hymnal (1891), and coedited The Cathedral Psalter (1873).
Bert Polman
Joseph Barnby
Samuel Webbe
1740 - 1816 Person Name: Samuel Webbe, Sr. (1740-1816) Meter: 7.6.7.6.8.8 Composer of "IMMANUEL" in The Cyber Hymnal Samuel Webbe (the elder; b. London, England, 1740; d. London, 1816) Webbe's father died soon after Samuel was born without providing financial security for the family. Thus Webbe received little education and was apprenticed to a cabinetmaker at the age of eleven. However, he was determined to study and taught himself Latin, Greek, Hebrew, French, German, and Italian while working on his apprenticeship. He also worked as a music copyist and received musical training from Carl Barbant, organist at the Bavarian Embassy. Restricted at this time in England, Roman Catholic worship was freely permitted in the foreign embassies. Because Webbe was Roman Catholic, he became organist at the Portuguese Chapel and later at the Sardinian and Spanish chapels in their respective embassies. He wrote much music for Roman Catholic services and composed hymn tunes, motets, and madrigals. Webbe is considered an outstanding composer of glees and catches, as is evident in his nine published collections of these smaller choral works. He also published A Collection of Sacred Music (c. 1790), A Collection of Masses for Small Choirs (1792), and, with his son Samuel (the younger), Antiphons in Six Books of Anthems (1818).
Bert Polman
Samuel Webbe
Johann Sebastian Bach
1685 - 1750 Person Name: J. S. Bach, 1685-1750 Meter: 7.6.7.6.8.8 Harmonizer of "LIEBSTER JESU (DESSAU)" in Common Praise Johann Sebastian Bach was born at Eisenach into a musical family and in a town steeped in Reformation history, he received early musical training from his father and older brother, and elementary education in the classical school Luther had earlier attended.
Throughout his life he made extraordinary efforts to learn from other musicians. At 15 he walked to Lüneburg to work as a chorister and study at the convent school of St. Michael. From there he walked 30 miles to Hamburg to hear Johann Reinken, and 60 miles to Celle to become familiar with French composition and performance traditions. Once he obtained a month's leave from his job to hear Buxtehude, but stayed nearly four months. He arranged compositions from Vivaldi and other Italian masters. His own compositions spanned almost every musical form then known (Opera was the notable exception).
In his own time, Bach was highly regarded as organist and teacher, his compositions being circulated as models of contrapuntal technique. Four of his children achieved careers as composers; Haydn, Mozart, Beethoven, Mendelssohn, Schumann, Brahms, and Chopin are only a few of the best known of the musicians that confessed a major debt to Bach's work in their own musical development. Mendelssohn began re-introducing Bach's music into the concert repertoire, where it has come to attract admiration and even veneration for its own sake.
After 20 years of successful work in several posts, Bach became cantor of the Thomas-schule in Leipzig, and remained there for the remaining 27 years of his life, concentrating on church music for the Lutheran service: over 200 cantatas, four passion settings, a Mass, and hundreds of chorale settings, harmonizations, preludes, and arrangements. He edited the tunes for Schemelli's Musicalisches Gesangbuch, contributing 16 original tunes. His choral harmonizations remain a staple for studies of composition and harmony. Additional melodies from his works have been adapted as hymn tunes.
--John Julian, Dictionary of Hymnology (1907)
Johann Sebastian Bach
Small Church Music
Meter: 7.6.7.6.8.8 Editors: J. M. Neale Description:
The SmallChurchMusic site was launched in 2006, growing 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.
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Small Church Music
Christian Classics Ethereal Hymnary
Publication Date: 2007 Publisher: Grand Rapids, MI: Christian Classics Ethereal Library Meter: 7.6.7.6.8.8
Christian Classics Ethereal Hymnary
