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Make Haste, O God, to Save
Author: Anonymous Meter: 6.6.8.6 Appears in 3 hymnals Lyrics: 1. Make haste, O God, to save;
To help me, Lord, make haste;
Ashamed, confounded, they shall be
Who would my life lay waste.
2. They shall be put to shame
That in my hurt delight,
And backward in dishonor turned,
Their mocking to requite.
3. All they that seek Thy face
With joy in Thee abide,
And, loving Thy salvation, say,
Let God be magnified.
4. In need I am, and poor;
O God, make haste, I pray;
Thou art my Savior and my help,
O Lord, make no delay. Used With Tune: ST. MICHAEL Text Sources: From The Psalter (Pittsburgh, Pennsylvania: The United Presbyterian Board of Publication, 1912), number 190
Make Haste, O God, to Save
Make Haste, O God, to Save Me
Meter: 7.6.7.6 D Appears in 1 hymnal Topics: God Glory of; Rejoicing in God; Salvation by Grace Scripture: Psalm 70 Used With Tune: MUNICH Text Sources: OPC/URCNA 2016
Make Haste, O God, to Save Me
Prayer for Help
Meter: 6.6.8.6 Appears in 1 hymnal First Line: Make haste, O my God, to save Lyrics: 1 Make haste, O God, to save;
To help me, Lord, make haste;
Ashamed, confounded, they shall be
Who would my life lay waste.
2 They shall be put to shame
That in my hurt delight,
And backward in dishonor turned,
Their mocking to requite.
3 All they that seek Thy face
With joy in Thee abide,
And, loving Thy salvation say,
Let God be magnified.
4 In need am I, and poor;
O God, make haste, I pray;
Thou art my Saviour and my help,
O Lord, make no delay. Topics: Afflictions Prayer in; Aspirations For Peace and Rest; Deliverance From Enemies; Prayer confidence in; Preservation; Salvation Prayers for; Temptation Scripture: Psalm 70 Used With Tune: ST. MICHAEL
Prayer for Help
ST. MICHAEL
Meter: 6.6.8.6 Appears in 318 hymnals Composer and/or Arranger: Louis Bourgeois; William Crotch Tune Sources: French Genevan Psalter, 1551 Tune Key: G Major Incipit: 51322 35432 21176 Used With Text: Make Haste, O God, to Save
ST. MICHAEL
Make Haste, O God, to Save
Author: Anonymous Hymnal: The Cyber Hymnal #4152 Meter: 6.6.8.6 Lyrics: 1. Make haste, O God, to save;
To help me, Lord, make haste;
Ashamed, confounded, they shall be
Who would my life lay waste.
2. They shall be put to shame
That in my hurt delight,
And backward in dishonor turned,
Their mocking to requite.
3. All they that seek Thy face
With joy in Thee abide,
And, loving Thy salvation, say,
Let God be magnified.
4. In need I am, and poor;
O God, make haste, I pray;
Thou art my Savior and my help,
O Lord, make no delay. Languages: English Tune Title: ST. MICHAEL
Make Haste, O God, to Save
Make Haste, O God, to Save Me
Hymnal: Trinity Psalter Hymnal #70 (2018) Meter: 7.6.7.6 D Topics: God Glory of; Rejoicing in God; Salvation by Grace Scripture: Psalm 70 Languages: English Tune Title: MUNICH
Make Haste, O God, to Save Me
Make haste, O God, to save
Hymnal: The Book of Psalms Rendered in Metre and Set to Music #ad145 (1950)
Make haste, O God, to save
Anonymous
Author of "Make Haste, O God, to Save" in The Cyber Hymnal In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.
Anonymous
Louis Bourgeois
1510 - 1561 Composer (melody) of "ST. MICHAEL" in The Cyber Hymnal 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
Louis Bourgeois
William Crotch
1775 - 1847 Adapter of "ST. MICHAEL" in The Cyber Hymnal William Crotch (5 July 1775 – 29 December 1847) was an English composer, organist and artist.
Born in Norwich, Norfolk to a master carpenter he showed early musical talent as a child prodigy. The three and a half year old Master William Crotch was taken to London by his ambitious mother, where he not only played on the organ of the Chapel Royal in St James's Palace, but for King George III. The London Magazine of April 1779 records:
He appears to be fondest of solemn tunes and church musick, particularly the 104th Psalm. As soon as he has finished a regular tune, or part of a tune, or played some little fancy notes of his own, he stops, and has some of the pranks of a wanton boy; some of the company then generally give him a cake, an apple, or an orange, to induce him to play again...
Crotch was later to observe that this experience led him to become a rather spoiled child, excessively indulged so that he would perform.
He was for a time organist at Christ Church, Oxford, from which he was later to graduate with a Bachelor of Music degree.
His composition The Captivity of Judah was played at Trinity Hall, Cambridge, on 4 June 1789; his most successful composition in adulthood was the oratorio Palestine (1812). He may have composed the Westminster Chimes in 1793.
In 1797 Crotch was given a professorship at Oxford University, and in 1799 he acquired a doctorate in music. While at Oxford, he became acquainted with the musician and artist John Malchair, and took up sketching. He followed Malchair's style in recording the exact time and date of each of his pictures, and when he met John Constable in London in 1805, he passed the habit along to the more famous artist.
In 1834, to commemorate the installation of the Duke of Wellington as chancellor of the University of Oxford, Crotch penned a second oratorio titled The Captivity of Judah. The 1834 work bears little resemblance to the oratorio he wrote as a child in 1789.
In 1822, Crotch was appointed to the Royal Academy of Music as its first Principal, but resigned ten years later.[2] He spent his last years at his son's house in Taunton, Somerset, where he died suddenly in 1847. Among his notable pupils were William Sterndale Bennett, Lucy Anderson, Stephen Codman, George Job Elvey, Cipriani Potter, and Charles Kensington Salaman
--en.wikipedia.org/
William Crotch
