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Our Day of Praise is Done
Author: John Ellerton Meter: 6.6.8.6 Appears in 139 hymnals Topics: Public Worship Closing of Service Scripture: Psalm 84:4 Used With Tune: SCHUMANN
Our Day of Praise is Done
ST. THOMAS
Appears in 1,026 hymnals Composer and/or Arranger: Aaron Williams Tune Key: G Major or modal Incipit: 51132 12345 43432 Used With Text: Our Day of Praise is Done
ST. THOMAS
Our day of praise is done
Author: Rev. J. Ellerton 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 #23a (1894) Meter: 6.6.8.6 Lyrics: 1 Our day of praise is done;
The evening shadows fall;
But pass not from us with the sun,
True Light that lightenest all.
2 Around the throne on high,
Where night can never be,
The white-robed harpers of the sky
Bring ceaseless hymns to Thee.
3 Too faint our anthems here;
Too soon of praise we tire;
But oh, the strains how full and clear
Of that eternal choir!
4 Yet, Lord, to Thy dear will
If Thou attune the heart,
We in Thine angel's music still
May bear our lower part.
5 'Tis Thine each soul to calm,
Each wayward thought reclaim,
And make our life a daily psalm
Of glory to Thy name.
6 A little while, and then
Shall come the glorious end;
And songs of angels and of men
In perfect praise shall blend.
Amen.
Topics: Praise; Daily Prayer Evening Languages: English Tune Title: [Our day of praise is done]
Our day of praise is done
Our day of praise is done
Author: Rev. J. Ellerton 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 #23b (1894) Meter: 6.6.8.6 Lyrics: 1 Our day of praise is done;
The evening shadows fall;
But pass not from us with the sun,
True Light that lightenest all.
2 Around the throne on high,
Where night can never be,
The white-robed harpers of the sky
Bring ceaseless hymns to Thee.
3 Too faint our anthems here;
Too soon of praise we tire;
But oh, the strains how full and clear
Of that eternal choir!
4 Yet, Lord, to Thy dear will
If Thou attune the heart,
We in Thine angel's music still
May bear our lower part.
5 'Tis Thine each soul to calm,
Each wayward thought reclaim,
And make our life a daily psalm
Of glory to Thy name.
6 A little while, and then
Shall come the glorious end;
And songs of angels and of men
In perfect praise shall blend.
Amen. Topics: Praise; Daily Prayer Evening Languages: English Tune Title: [Our day of praise is done]
Our day of praise is done
Our Day of Praise Is Done
Author: John W. Ellerton, 1826-1893 Hymnal: Sacred Songs of the Church #20 (2007) Meter: 6.6.8.6 Tune Title: [Our day of praise is done]
Our Day of Praise Is Done
Henry J. Gauntlett
1805 - 1876 Person Name: Henry John Gauntlett Composer of "IGNATIUS" in Songs of Work and Worship Henry J. Gauntlett (b. Wellington, Shropshire, July 9, 1805; d. London, England, February 21, 1876) When he was nine years old, Henry John Gauntlett (b. Wellington, Shropshire, England, 1805; d. Kensington, London, England, 1876) became organist at his father's church in Olney, Buckinghamshire. At his father's insistence he studied law, practicing it until 1844, after which he chose to devote the rest of his life to music. He was an organist in various churches in the London area and became an important figure in the history of British pipe organs. A designer of organs for William Hill's company, Gauntlett extended the organ pedal range and in 1851 took out a patent on electric action for organs. Felix Mendelssohn chose him to play the organ part at the first performance of Elijah in Birmingham, England, in 1846. Gauntlett is said to have composed some ten thousand hymn tunes, most of which have been forgotten. Also a supporter of the use of plainchant in the church, Gauntlett published the Gregorian Hymnal of Matins and Evensong (1844).
Bert Polman
Henry J. Gauntlett
William B. Bradbury
1816 - 1868 Composer of "BRADEN" in The Praise Hymnary William Bachelder Bradbury USA 1816-1868. Born at York, ME, he was raised on his father's farm, with rainy days spent in a shoe-shop, the custom in those days. He loved music and spent spare hours practicing any music he could find. In 1830 the family moved to Boston, where he first saw and heard an organ and piano, and other instruments. He became an organist at 15. He attended Dr. Lowell Mason's singing classes, and later sang in the Bowdoin Street church choir. Dr. Mason became a good friend. He made $100/yr playing the organ, and was still in Dr. Mason's choir. Dr. Mason gave him a chance to teach singing in Machias, ME, which he accepted. He returned to Boston the following year to marry Adra Esther Fessenden in 1838, then relocated to Saint John, New Brunswick. Where his efforts were not much appreciated, so he returned to Boston. He was offered charge of music and organ at the First Baptist Church of Brooklyn. That led to similar work at the Baptist Tabernacle, New York City, where he also started a singing class. That started singing schools in various parts of the city, and eventually resulted in music festivals, held at the Broadway Tabernacle, a prominent city event. He conducted a 1000 children choir there, which resulted in music being taught as regular study in public schools of the city. He began writing music and publishing it. In 1847 he went with his wife to Europe to study with some of the music masters in London and also Germany. He attended Mendelssohn funeral while there. He went to Switzerland before returning to the states, and upon returning, commenced teaching, conducting conventions, composing, and editing music books. In 1851, with his brother, Edward, he began manufacturring Bradbury pianos, which became popular. Also, he had a small office in one of his warehouses in New York and often went there to spend time in private devotions. As a professor, he edited 59 books of sacred and secular music, much of which he wrote. He attended the Presbyterian church in Bloomfield, NJ, for many years later in life. He contracted tuberculosis the last two years of his life.
John Perry
William B. Bradbury
Joseph Barnby
1838 - 1896 Composer of "EMMAUS" in Hymns of the Living Church 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
