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Great God, who, hid from mortal sight
Author: Rev. Sir Henry Williams Baker (1821-1877) Appears in 14 hymnals Used With Tune: DUKE STREET
Great God, who, hid from mortal sight
LITLINGTON TOWER
Appears in 22 hymnals Composer and/or Arranger: Joseph Barnby Incipit: 13651 12143 21554 Used With Text: Great God, Who, hid from mortal sight
LITLINGTON TOWER
DUKE STREET
Appears in 1,447 hymnals Composer and/or Arranger: John Hatton Incipit: 13456 71765 55565 Used With Text: Great God, who, hid from mortal sight
DUKE STREET
Great God, Who, Hid from Mortal Sight
Author: John Chandler Hymnal: The Cyber Hymnal #1760 Meter: 8.8.8.8.8.8 Lyrics: 1. Great God, who, hid from mortal sight,
Dost dwell in unapproachèd light,
Before whose throne with veilèd brow,
Thy sinless angels trembling bow.
2. A while in darkness here below
We lie oppressed with sin and woe;
But soon the everlasting day
Shall chase the night of gloom away.
3. The day prepared for us by Thee;
The day reserved for us to see;
A day but faintly imaged here
By brightest sun at noontide clear.
4. Too long, alas! it still delays,
It lingers yet, that day of days;
The flesh, with all its load of sin,
Must perish, ere its joy we win.
5. Then from these earthy bonds set free
The soul shall fly, O God, to Thee;
To see Thee, love Thee, and adore,
Her blissful task for evermore.
6. All bounteous Trinity! prepare
Our souls Thy hidden joy to share,
That our brief daytime, used aright,
May issue in eternal light. Languages: English Tune Title: EISENACH
Great God, Who, Hid from Mortal Sight
Great God, who hid from mortal sight
Hymnal: Hymns Ancient and Modern #23 (1874) Meter: 8.8.8.8 Languages: English
Great God, who hid from mortal sight
Great God, Who, hid from mortal sight
Hymnal: Hymn Tunes #32 (1897) Languages: English Tune Title: LITLINGTON TOWER
Great God, Who, hid from mortal sight
H. W. Baker
1821 - 1877 Person Name: Rev. Sir Henry Williams Baker (1821-1877) Translator of "Great God, who, hid from mortal sight" in Carmina Sanctorum Baker, Sir Henry Williams, Bart., eldest son of Admiral Sir Henry Loraine Baker, born in London, May 27, 1821, and educated at Trinity College, Cambridge, where he graduated, B.A. 1844, M.A. 1847. Taking Holy Orders in 1844, he became, in 1851, Vicar of Monkland, Herefordshire. This benefice he held to his death, on Monday, Feb. 12, 1877. He succeeded to the Baronetcy in 1851. Sir Henry's name is intimately associated with hymnody. One of his earliest compositions was the very beautiful hymn, "Oh! what if we are Christ's," which he contributed to Murray's Hymnal for the Use of the English Church, 1852. His hymns, including metrical litanies and translations, number in the revised edition of Hymns Ancient & Modern, 33 in all. These were contributed at various times to Murray's Hymnal, Hymns Ancient & Modern and the London Mission Hymn Book, 1876-7. The last contains his three latest hymns. These are not included in Hymns Ancient & Modern. Of his hymns four only are in the highest strains of jubilation, another four are bright and cheerful, and the remainder are very tender, but exceedingly plaintive, sometimes even to sadness. Even those which at first seem bright and cheerful have an undertone of plaintiveness, and leave a dreamy sadness upon the spirit of the singer. Poetical figures, far-fetched illustrations, and difficult compound words, he entirely eschewed. In his simplicity of language, smoothness of rhythm, and earnestness of utterance, he reminds one forcibly of the saintly Lyte. In common with Lyte also, if a subject presented itself to his mind with striking contrasts of lights and shadows, he almost invariably sought shelter in the shadows. The last audible words which lingered on his dying lips were the third stanza of his exquisite rendering of the 23rd Psalm, "The King of Love, my Shepherd is:"—
Perverse and foolish, oft I strayed,
But yet in love He sought me,
And on His Shoulder gently laid,
And home, rejoicing, brought me."
This tender sadness, brightened by a soft calm peace, was an epitome of his poetical life.
Sir Henry's labours as the Editor of Hymns Ancient & Modern were very arduous. The trial copy was distributed amongst a few friends in 1859; first ed. published 1861, and the Appendix, in 1868; the trial copy of the revised ed. was issued in 1874, and the publication followed in 1875. In addition he edited Hymns for the London Mission, 1874, and Hymns for Mission Services, n.d., c. 1876-7. He also published Daily Prayers for those who work hard; a Daily Text Book, &c. In Hymns Ancient & Modern there are also four tunes (33, 211, 254, 472) the melodies of which are by Sir Henry, and the harmonies by Dr. Monk. He died Feb. 12, 1877.
--John Julian, Dictionary of Hymnology (1907)
H. W. Baker
John Warrington Hatton
1710 - 1793 Person Name: John Hatton Composer of "DUKE STREET" in Carmina Sanctorum John Warrington Hatton (b. Warrington, England, c. 1710; d, St. Helen's, Lancaster, England, 1793) was christened in Warrington, Lancashire, England. He supposedly lived on Duke Street in Lancashire, from where his famous tune name comes. Very little is known about Hatton, but he was most likely a Presbyterian, and the story goes that he was killed in a stagecoach accident.
Bert Polman
John Warrington Hatton
Johann Sebastian Bach
1685 - 1750 Person Name: Johann S. Bach, 1685-1750 Harmonizer of "EISENACH" in The Cyber Hymnal 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
