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Herr Jesu Christ, dich zu uns wend'

Appears in 159 hymnals Topics: Vor der Bredigt Used With Tune: HEBRON

[Herr Jesu Christ, dich zu uns wend]

Appears in 196 hymnals Incipit: 13532 34565 32117 Used With Text: Herr Jesu Christ, dich zu uns wend

[Herr Jesu Christ, dich zu uns wend']

Appears in 1,908 hymnals Composer and/or Arranger: Bourgeois Incipit: 11765 12333 32143 Used With Text: Herr Jesus Christ, dich zu und wend

HEBRON

Appears in 598 hymnals Incipit: 53565 67117 23176 Used With Text: Herr Jesu Christ, dich zu uns wend'

Instances

Published text-tune combinations (hymns) from specific hymnals

Herr Jesu Christ, dich zu uns wend

Author: Wilhelm II, von Sachsen-Weimar Hymnal: Evangelisches Gesangbuch #155 (2014) Topics: Lieder zum Gottesdienst Eingang und Ausgang Languages: German Tune Title: [Herr Jesu Christ, dich zu uns wend]

Lord, to Us Attend (Herr dich zu uns wend')

Hymnal: The Selah Song Book (Das Sela Gesangbuch) (2nd ed) #23 (1926) First Line: Lord Jesus Christ, to us attend (Herr Jesu Christ, dich zu uns wend') Languages: English; German Tune Title: [Herr Jesu Christ, dich zu uns wend]

Herr Jesu Christ dich zu uns wend'

Author: Wilhelm, Herzog v. Sachsen-Weimar Hymnal: Lieder-Auswahl aus Himmels-Harfe #102 (1907) Languages: German Tune Title: [Herr Jesu Christ dich zu uns wend']

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People

Authors, composers, editors, etc.

Louis Bourgeois

1510 - 1561 Person Name: Bourgeois Composer of "[Herr Jesu Christ, dich zu uns wend']" in Evangeliums-Lieder 1 und 2 (Gospel Hymns) Louis Bourgeois (b. Paris, France, c. 1510; d. Paris, 1561). In both his early and later years Bourgeois wrote French songs to entertain the rich, but in the history of church music he is known especially for his contribution to the Genevan Psalter. Apparently moving to Geneva in 1541, the same year John Calvin returned to Geneva from Strasbourg, Bourgeois served as cantor and master of the choristers at both St. Pierre and St. Gervais, which is to say he was music director there under the pastoral leadership of Calvin. Bourgeois used the choristers to teach the new psalm tunes to the congregation. The extent of Bourgeois's involvement in the Genevan Psalter is a matter of scholarly debate. Calvin had published several partial psalters, including one in Strasbourg in 1539 and another in Geneva in 1542, with melodies by unknown composers. In 1551 another French psalter appeared in Geneva, Eighty-three Psalms of David, with texts by Marot and de Beze, and with most of the melodies by Bourgeois, who supplied thirty four original tunes and thirty-six revisions of older tunes. This edition was republished repeatedly, and later Bourgeois's tunes were incorporated into the complete Genevan Psalter (1562). However, his revision of some older tunes was not uniformly appreciated by those who were familiar with the original versions; he was actually imprisoned overnight for some of his musical arrangements but freed after Calvin's intervention. In addition to his contribution to the 1551 Psalter, Bourgeois produced a four-part harmonization of fifty psalms, published in Lyons (1547, enlarged 1554), and wrote a textbook on singing and sight-reading, La Droit Chemin de Musique (1550). He left Geneva in 1552 and lived in Lyons and Paris for the remainder of his life. Bert Polman

Claude Goudimel

1514 - 1572 Composer of "OLD HUNDRED" in Frohe Lieder und Brüder-Harfe The music of Claude Goudimel (b. Besançon, France, c. 1505; d. Lyons, France, 1572) was first published in Paris, and by 1551 he was composing harmonizations for some Genevan psalm tunes-initially for use by both Roman Catholics and Protestants. He became a Calvinist in 1557 while living in the Huguenot community in Metz. When the complete Genevan Psalter with its unison melodies was published in 1562, Goudimel began to compose various polyphonic settings of all the Genevan tunes. He actually composed three complete harmonizations of the Genevan Psalter, usually with the tune in the tenor part: simple hymn-style settings (1564), slightly more complicated harmonizations (1565), and quite elaborate, motet-like settings (1565-1566). The various Goudimel settings became popular throughout Calvinist Europe, both for domestic singing and later for use as organ harmonizations in church. Goudimel was one of the victims of the St. Bartholomew's Day massacre of Huguenots, which occurred throughout France. Bert Polman