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Give Thanks, My Soul, For Harvest
Author: William Watkins Reid, Sr. Meter: 7.6.7.6 D Appears in 9 hymnals First Line: Give thanks, my soul for harvest Lyrics: 1 Give thanks, my soul, for harvest,
for store of fruit and grain;
but know the owner gives so
that we may share again.
Where people suffer hunger,
or little children cry,
with gifts from God’s rich bounty
may thankfulness reply.
2 Give thanks, my soul, for riches
of woodland, mine, and hill;
but know that gold and timber
are the Creator's still.
God lends to us, as stewards,
abundance we might share,
and thus provide earth's children
the blessing of God's care.
3 Give thanks, my soul, for labours,
that strength and days employ;
but know the Maker's purpose
brings toil as well as joy.
Show forth, O God, your purpose;
direct our will and hand
to share your love and bounty
with all in every land. Topics: The Church at Worship Special Days, Seasons, Occasions: Thanksgiving; Ecology; God Providence; Jesus Christ Creator; Stewardship; Thankfulness; Thanksgiving Day; Work and Recreation; Youth; Proper 23 Year B; Thanksgiving Year B Used With Tune: MUNICH
Give Thanks, My Soul, For Harvest
WOLVERCOTE
Meter: 7.6.7.6 D Appears in 39 hymnals Composer and/or Arranger: William Harold Ferguson, 1874 - 1950 Tune Key: A Major Incipit: 51432 31653 45321 Used With Text: Give thanks, my soul, for harvest
WOLVERCOTE
Give thanks, my soul, for harvest
Author: William Watkins Reid, 1890- Hymnal: The Book of Praise #805 (1997) Meter: 7.6.7.6 D Lyrics: 1 Give thanks, my soul, for harvest,
for store of fruit and grain,
but know the owner gives us
that we may share again;
where souls are lone and hungry,
where needy children cry,
with gifts from God’s rich bounty
may thankfulness reply.
2 Give thanks, my soul, for riches
of woodland, mine and hill,
but know that gold and timber
are the Creator's still,
and God's on loan to stewards
to fashion and to share,
providing all earth's children
the blessing of God's care.
3 Give thanks, my soul, for labours
that strength and days employ,
but know your Maker's purpose
brings toil as well as joy.
Where leads the path to error,
where justice lies in chain,
where hoarders cause new hunger,
there must we strive again.
4 Give thanks, my soul, for beauty,
for vision, hope and skill,
for Christ, divine revealer
of God's redeeming will.
Show forth, O God, your purpose;
direct our will and hand
to share your love and bounty
with all, in every land. Topics: God Will of; Harvest Thanksgiving; Hope; Social Concerns / Social Justice; Stewardship; Vision / Dream; Work Scripture: Psalm 50:10-11 Languages: English Tune Title: CRÜGER
Give thanks, my soul, for harvest
Give Thanks, My Soul, For Harvest
Author: William Watkins Reid, Sr. Hymnal: Voices United #522 (1996) Meter: 7.6.7.6 D First Line: Give thanks, my soul for harvest Lyrics: 1 Give thanks, my soul, for harvest,
for store of fruit and grain;
but know the owner gives so
that we may share again.
Where people suffer hunger,
or little children cry,
with gifts from God’s rich bounty
may thankfulness reply.
2 Give thanks, my soul, for riches
of woodland, mine, and hill;
but know that gold and timber
are the Creator's still.
God lends to us, as stewards,
abundance we might share,
and thus provide earth's children
the blessing of God's care.
3 Give thanks, my soul, for labours,
that strength and days employ;
but know the Maker's purpose
brings toil as well as joy.
Show forth, O God, your purpose;
direct our will and hand
to share your love and bounty
with all in every land. Topics: The Church at Worship Special Days, Seasons, Occasions: Thanksgiving; Ecology; God Providence; Jesus Christ Creator; Stewardship; Thankfulness; Thanksgiving Day; Work and Recreation; Youth; Proper 23 Year B; Thanksgiving Year B Tune Title: MUNICH
Give Thanks, My Soul, For Harvest
Give Thanks, My Soul, for Harvest
Author: William Watkins Reid Hymnal: Ten New Stewardship Hymns #8 (1961) Meter: 7.6.7.6 D
Give Thanks, My Soul, for Harvest
Johann Crüger
1598 - 1662 Person Name: Johann Crüger, 1598-1662 Composer of "CRÜGER" in The Book of Praise Johann Crüger (b. Grossbriesen, near Guben, Prussia, Germany, 1598; d. Berlin, Germany, 1662) Crüger attended the Jesuit College at Olmutz and the Poets' School in Regensburg, and later studied theology at the University of Wittenberg. He moved to Berlin in 1615, where he published music for the rest of his life. In 1622 he became the Lutheran cantor at the St. Nicholas Church and a teacher for the Gray Cloister. He wrote music instruction manuals, the best known of which is Synopsis musica (1630), and tirelessly promoted congregational singing. With his tunes he often included elaborate accompaniment for various instruments. Crüger's hymn collection, Neues vollkomliches Gesangbuch (1640), was one of the first hymnals to include figured bass accompaniment (musical shorthand) with the chorale melody rather than full harmonization written out. It included eighteen of Crüger's tunes. His next publication, Praxis Pietatis Melica (1644), is considered one of the most important collections of German hymnody in the seventeenth century. It was reprinted forty-four times in the following hundred years. Another of his publications, Geistliche Kirchen Melodien (1649), is a collection arranged for four voices, two descanting instruments, and keyboard and bass accompaniment. Crüger also published a complete psalter, Psalmodia sacra (1657), which included the Lobwasser translation set to all the Genevan tunes.
Bert Polman
===============================
Crüger, Johann, was born April 9, 1598, at Gross-Breese, near Guben, Brandenburg. After passing through the schools at Guben, Sorau and Breslau, the Jesuit College at Olmütz, and the Poets' school at Regensburg, he made a tour in Austria, and, in 1615, settled at Berlin. There, save for a short residence at the University of Wittenberg, in 1620, he employed himself as a private tutor till 1622. In 1622 he was appointed Cantor of St. Nicholas's Church at Berlin, and also one of the masters of the Greyfriars Gymnasium. He died at Berlin Feb. 23, 1662. Crüger wrote no hymns, although in some American hymnals he appears as "Johann Krüger, 1610,” as the author of the supposed original of C. Wesley's "Hearts of stone relent, relent" (q.v.). He was one of the most distinguished musicians of his time. Of his hymn tunes, which are generally noble and simple in style, some 20 are still in use, the best known probably being that to "Nun danket alle Gott" (q.v.), which is set to No. 379 in Hymns Ancient & Modern, ed. 1875. His claim to notice in this work is as editor and contributor to several of the most important German hymnological works of the 16th century, and these are most conveniently treated of under his name. (The principal authorities on his works are Dr. J. F. Bachmann's Zur Geschichte der Berliner Gesangbücher 1857; his Vortrag on P. Gerhard, 1863; and his edition of Gerhardt's Geistliche Lieder, 1866. Besides these there are the notices in Bode, and in R. Eitner's Monatshefte für Musik-Geschichte, 1873 and 1880). These works are:—
1. Newes vollkömmliches Gesangbuch, Augspur-gischer Confession, &c, Berlin, 1640 [Library of St. Nicholas's Church, Berlin], with 248 hymns, very few being published for the first time.
2. Praxis pietatis melica. Das ist: Ubung der Gottseligkeit in Christlichen und trostreichen Gesängen. The history of this, the most important work of the century, is still obscure. The 1st edition has been variously dated 1640 and 1644, while Crüger, in the preface to No. 3, says that the 3rd edition appeared in 1648. A considerable correspondence with German collectors and librarians has failed to bring to light any of the editions which Koch, iv. 102, 103, quotes as 1644, 1647, 1649, 1650, 1651, 1652, 1653. The imperfect edition noted below as probably that of 1648 is the earliest Berlin edition we have been able to find. The imperfect edition, probably ix. of 1659, formerly in the hands of Dr. Schneider of Schleswig [see Mützell, 1858, No. 264] was inaccessible. The earliest perfect Berlin edition we have found is 1653.
The edition printed at Frankfurt in 1656 by Caspar Röteln was probably a reprint of a Berlin edition, c. 1656. The editions printed at Frankfurt-am-Main by B. C. Wust (of which the 1666 is in the preface described as the 3rd) are in considerable measure independent works.
In the forty-five Berlin and over a dozen Frankfurt editions of this work many of the hymns of P. Gerhardt, J. Franck, P. J. Spener, and others, appear for the first time, and therein also appear many of the best melodies of the period.
3. Geistliche Kirchen-Melodien, &c, Leipzig, 1649 [Library of St. Katherine's Church, Brandenburg]. This contains the first stanzas only of 161 hymns, with music in four vocal and two instrumental parts. It is the earliest source of the first stanzas of various hymns by Gerhardt, Franck, &c.
4. D. M. Luther's und anderer vornehmen geisU reichen und gelehrten Manner Geistliche Lieder und Psalmen, &c, Berlin, 1653 [Hamburg Town Library], with 375 hymns. This was edited by C. Runge, the publisher, and to it Crüger contributed some 37 melodies. It was prepared at the request of Luise Henriette (q.v.), as a book for the joint use of the Lutherans and the Re¬formed, and is the earliest source of the hymns ascribed to her, and of the complete versions of many hymns by Gerhardt and Franck.
5. Psalmodia Sacra, &c, Berlin, 1658 [Royal Library, Berlin]. The first section of this work is in an ed. of A. Lobwasser's German Psalter; the second, with a similar title to No. 4, and the date 1657, is practically a recast of No. 4,146 of those in 1653 being omitted, and the rest of the 319 hymns principally taken from the Praxis of 1656 and the hymn-books of the Bohemian Brethren. New eds. appeared in 1676, 1700, 1704, 1711, and 1736.
[Rev. James Mearns, M.A.]
-- Excerpt from John Julian, Dictionary of Hymnology (1907)
=======================
Crüger, Johann, p. 271, ii. Dr. J. Zahn, now of Neuendettelsau, in Bavaria, has recently acquired a copy of the 5th ed., Berlin, 1653, of the Praxis.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
Johann Crüger
William Henry Monk
1823 - 1889 Person Name: William H. Monk, 1823-1889 Arranger of "CRÜGER" in The Book of Praise William H. Monk (b. Brompton, London, England, 1823; d. London, 1889) is best known for his music editing of Hymns Ancient and Modern (1861, 1868; 1875, and 1889 editions). He also adapted music from plainsong and added accompaniments for Introits for Use Throughout the Year, a book issued with that famous hymnal. Beginning in his teenage years, Monk held a number of musical positions. He became choirmaster at King's College in London in 1847 and was organist and choirmaster at St. Matthias, Stoke Newington, from 1852 to 1889, where he was influenced by the Oxford Movement. At St. Matthias, Monk also began daily choral services with the choir leading the congregation in music chosen according to the church year, including psalms chanted to plainsong. He composed over fifty hymn tunes and edited The Scottish Hymnal (1872 edition) and Wordsworth's Hymns for the Holy Year (1862) as well as the periodical Parish Choir (1840-1851).
Bert Polman
William Henry Monk
Felix Mendelssohn-Bartholdy
1809 - 1847 Person Name: Felix Mendelssohn Harmonizer of "MUNICH" in Voices United Felix Mendelssohn-Bartholdy (b. Hamburg, Germany, 1809; d. Leipzig, Germany, 1847) was the son of banker Abraham Mendelssohn and the grandson of philosopher Moses Mendelssohn. His Jewish family became Christian and took the Bartholdy name (name of the estate of Mendelssohn's uncle) when baptized into the Lutheran church. The children all received an excellent musical education. Mendelssohn had his first public performance at the age of nine and by the age of sixteen had written several symphonies. Profoundly influenced by J. S. Bach's music, he conducted a performance of the St. Matthew Passion in 1829 (at age 20!) – the first performance since Bach's death, thus reintroducing Bach to the world. Mendelssohn organized the Domchor in Berlin and founded the Leipzig Conservatory of Music in 1843. Traveling widely, he not only became familiar with various styles of music but also became well known himself in countries other than Germany, especially in England. He left a rich treasury of music: organ and piano works, overtures and incidental music, oratorios (including St. Paul or Elijah and choral works, and symphonies. He harmonized a number of hymn tunes himself, but hymnbook editors also arranged some of his other tunes into hymn tunes.
Bert Polman
Felix Mendelssohn-Bartholdy
