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O Love, How Deep, How Broad, How High
Author: Thomas á Kempis ; Benjamin Webb Meter: 8.8.8.8 Appears in 140 hymnals Text Sources: Latin, 15th cent.
O Love, How Deep, How Broad, How High
DEUS TUORUM MILITUM
Meter: 8.8.8.8 Appears in 127 hymnals Composer and/or Arranger: Basil Harwood, 1859-1949 Tune Sources: The English Hymnal, 1906, alt. (adapt.), harm. after Basil Harwood; Antiphoner, 1753 Tune Key: B Flat Major Incipit: 13515 43211 31671 Used With Text: O love, how deep, how broad, how high
DEUS TUORUM MILITUM
DEO GRACIAS
Meter: 8.8.8.8 Appears in 102 hymnals Tune Sources: English melody; harm. from Hymns Ancient and Modern, Revised, 1950 Tune Key: c minor Incipit: 11717 76511 75454 Used With Text: O Love, How Deep
DEO GRACIAS
O AMOR QUAM EXSTATICUS
Meter: 8.8.8.8 Appears in 19 hymnals Tune Sources: Old French melody Tune Key: d minor Incipit: 15432 13455 1765 Used With Text: O love, how deep, how broad, how high!
O AMOR QUAM EXSTATICUS
O Love, How Deep, How Broad, How High
Author: Benjamin Webb, 1819-1885 Hymnal: Hymnal of Christian Unity #90 (1964) Topics: General Languages: English Tune Title: [O love, how deep, how broad, how high]
O Love, How Deep, How Broad, How High
O Love, How Deep, How Broad, How High
Author: Thomas á Kempis; John Mason Neale Hymnal: The Presbyterian Hymnal #83 (1990) Meter: 8.8.8.8 Lyrics: 1 O love, how deep, how broad, how high,
How passing thought and fantasy,
That God, the Son of God, should take
Our mortal form for mortals’ sake!
2 For us baptized, for us He bore
His holy fast and hungered sore;
For us temptations sharp He knew,
For us the tempter overthrew.
3 For us to evil power betrayed,
Scourged, mocked, in purple robe arrayed,
He bore the shameful cross and death,
For us gave up His dying breath.
4 For us He rose from death again;
For us He went on high to reign;
For us He sent His Spirit here,
To guide, to strengthen, and to cheer.
5 All glory to our Lord and God
For love so deep, so high, so broad:
The Trinity whom we adore
Forever and forevermore.
Scripture: Matthew 4:1-11 Languages: English Tune Title: DEO GRACIAS
O Love, How Deep, How Broad, How High
O Love, How Deep, How Broad, How High
Author: Benjamin Webb Hymnal: Lift Up Your Hearts #111 (2013) Meter: 8.8.8.8 Lyrics: 1 O love, how deep, how broad, how high,
beyond all thought and fantasy,
that God, the Son of God, should take
our mortal form for mortals’ sake!
2 For us baptized, for us he bore
his holy fast and hungered sore;
for us temptation sharp he knew,
for us the tempter overthrew.
3 For us he prayed; for us he taught;
for us his daily works he wrought:
by words and signs and actions thus
still seeking not himself, but us.
4 For us to evil power betrayed,
scourged, mocked, in purple robe arrayed,
he bore the shameful cross and death;
for us gave up his dying breath.
5 For us he rose from death again;
for us he went on high to reign;
for us he sent his Spirit here
to guide, to strengthen, and to cheer.
6 All glory to our Lord and God
for love so deep, so high, so broad —
the Trinity, whom we adore
forever and forevermore.
Topics: Church Year Baptism of Our Lord; Church Year Easter Vigil; Church Year Easter/Season of Easter; Powers of Darkness; Doxologies; Jesus Christ Confidence in; Jesus Christ Incarnation; Jesus Christ Love; Jesus Christ Son of God; Jesus Christ Teachings of; Trinity Scripture: 2 Corinthians 8:9 Languages: English Tune Title: DEO GRACIAS
O Love, How Deep, How Broad, How High
Thomas á Kempis
1380 - 1471 Person Name: Thomas á Kempis Author (attr.) of "O Love, How Deep, How Broad, How High" in The Presbyterian Hymnal Thomas of Kempen, commonly known as Thomas à Kempis, was born at Kempen, about fifteen miles northwest of Düsseldorf, in 1379 or 1380. His family name was Hammerken. His father was a peasant, whilst his mother kept a dame's school for the younger children of Kempen. When about twelve years old he became an inmate of the poor-scholars' house which was connected with a "Brother-House" of the Brethren of the Common Life at Deventer, where he was known as Thomas from Kempen, and hence his well-known name. There he remained for six years, and then, in 1398, he was received into the Brotherhood. A year later he entered the new religious house at Mount St. Agnes, near Zwolle. After due preparation he took the vows in 1407, was priested in 1413, became Subprior in 1425, and died according to some authorities on July 26. and others on Aug. 8, 1471.
Much of his time was occupied in copying Missals, Breviaries, and other devotional and religious works. His original writings included a chronicle of the monastery of St. Agnes, several biographies, tracts and hymns, and, but not without some doubt as to his authorship the immortal Imitatio Christi, which has been translated into more languages than any other book, the Bible alone excepted. His collected works have been repeatedly published, the best editions being Nürnberg, 1494, Antwerp in 1607 (Thomae Malleoli à Kempis . . . Opera omnia), and Paris in 1649. An exhaustive work on St. Thomas is Thomas à Kempis and the Brothers of the Common Life, by S. W. Kettlewell, in 2 vols., Lond., 1882. In this work the following of his hymns are translated by the Rev. S. J. Stone:—
i. From his Vita Boni Monachi, ii.:—
1. Vitam Jesu Christi. Imitation of Christ. Be the life of Christ thy Saviour.
2. Apprehende anna. Christian Armour. Take thy weapons, take thy shield.
3. Sustine dolores. Resignation. Bear thy sorrows with Laurentius.
ii. From his Cantica Spiritualia:—
4. 0 dulcissime Jesu. Jesus the most Dear. 0 [Child] Christ Jesu, closest, dearest.
5. 0 Vera summa Trinitas. Holy Trinity. Most true, most High, 0 Trinity.
6. Ad versa mundi tolera. Resignation. Bear the troubles of thy life.
7. 0 qualis quantaque laetitia. Eternal Life. 0 joy the purest, noblest.
Of these translations Mr. Stone has repeated Nos. 5, 6, and 7 in his Hymns, 1886, and No. 4 in a rewritten form as "Jesus, to my heart most precious," in the same. Pastor O. A. Spitzen has recently published from a manuscript circa 1480, ten additional hymns by Thomas, in his “Nalezing op mijn Thomas à Kempis," Utrecht, 1881. Six of these had previously been printed anonymously by Mone. The best known are "Jerusalem gloriosa", and "Nec quisquam oculis vidit". We may add that Thomas's hymnwriting is not regarded as being of the highest standard, and that the modern use of his hymns in any form is very limited.
-- John Julian, Dictionary of Hymnology (1907)
Thomas á Kempis
Johann Hermann Schein
1586 - 1630 Composer of "EISENACH" in The New Christian Hymnal Schein, Johann Hermann, son of Hieronymus Schein, pastor at Griinhain, near Annaberg, in Saxony, was born at Grünhain, Jan. 20,1586. He matriculated at the University of Leipzig in 1607, and studied there for four years. Thereafter he acted for some time as a private tutor, including two years with a family at Weissenfels. On May 21, 1615, he was appointed Capellmeister, at the court of Duke Johann Ernst, of Sachse-Weimar; and in 1616 he became cantor of I3t. Thomas's Church, and music director at Leipzig, in succession to Seth Calvisius (d. Nov. 24, 1615). This post he held till his death, at Leipzig, Nov. 19, 1630.
Schein was one of the most distinguished musicians of his time, both as an original composer, and as a harmoniser of the works of others. As a hymnwriter he was not so prolific, or so noteworthy. Most of his hymns were written on the deaths of his children or friends, e.g. on seven of his children, and on his first wife. They appeared mostly in broadsheet form, and were included, along with his original melodies, in his Cantional oder Gesang-Buch Augspurgischer Confession, Leipzig, 1627; 2nd ed., 1645. [Both in Wernigerode Library.]
Those of Schein's hymns which have passed into English are:—
i. Machs mit mir, Gott, nach deiner Güt. For the Dying. First published, as a broadsheet, at Leipzig, 1628, as a Trost-Liedlein á 5 (i.e. for 5 voices), &c. [Berlin Library.] The words, the melody, and the five-part setting, are all by Schein. It was written for, and first used at, the funeral, on Dec. 15, 1628, of Margarita, wife of Caspar Werner, a builder and town councillor at Leipzig, and a churchwarden of St. Thomas's. It is in 6 stanzas of 6 lines; the initial letters of 11. 1, 3, in st. i.-iv., forming the name Margarita; and the W of st. v. 1. 1 standing for Werner. In Schein's Cantional, 1645, No. 303 (marked as Trost-Liedlein, Joh. Herm. Scheins, á 5), and later hymn-books, as e.g. the Unverfäschter Liedersegen, 1851, No. 830, st. vi. was omitted. It is Schein's finest production, and one of the best German hymns for the sick and dying. Translated as:—
Deal with me, God, in mercy now. This is a good and full translation by Miss Winkworth, in her Chorale Book for England, 1863, No. 191, set to Schein's melody of 1628.
ii. Mein Gott und Herr, ach sei nicht fern. For the Dying. First published, with his name, in his Cantional, 1627, No. 262, in 9 stanzas of 6 lines. The initial letters of the stanzas give the name Margarita, probably one of the daughters who predeceased him. It is included, in 5 st., in the 164-8, and later eds., of Crüger's Praxis. The translation in common use is:—
My Lord and God, go not away. A good tr. of st. i., ii., iv., v., vii., by A. T. Russell, as No. 254, in his Psalms & Hymns, 1851. [Rev. James Mearns, M.A.]
--Excerpts from John Julian, Dictionary of Hymnology (1907)
Johann Hermann Schein
Michael Praetorius
1571 - 1621 Adapter of "PUER NOBIS" in The Worshiping Church Born into a staunchly Lutheran family, Michael Praetorius (b. Creuzburg, Germany, February 15, 1571; d. Wolfenbüttel, Germany, February 15, 1621) was educated at the University of Frankfort-an-der-Oder. In 1595 he began a long association with Duke Heinrich Julius of Brunswick, when he was appointed court organist and later music director and secretary. The duke resided in Wolfenbüttel, and Praetorius spent much of his time at the court there, eventually establishing his own residence in Wolfenbüttel as well. When the duke died, Praetorius officially retained his position, but he spent long periods of time engaged in various musical appointments in Dresden, Magdeburg, and Halle. Praetorius produced a prodigious amount of music and music theory. His church music consists of over one thousand titles, including the sixteen-volume Musae Sionae (1605-1612), which contains Lutheran hymns in settings ranging from two voices to multiple choirs. His Syntagma Musicum (1614-1619) is a veritable encyclopedia of music and includes valuable information about the musical instruments of his time.
Bert Polman
Michael Praetorius
