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Text Identifier:praise_praise_praise_praise_be_to_thee

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Praise Be to Thee

Appears in 12 hymnals First Line: Praise be to Thee, O Christ

Tunes

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ASCRIPTON OF PRAISE

Appears in 1 hymnal Used With Text: Praise! praise! praise! praise be to Thee
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[Praise be to you, O Christ]

Appears in 8 hymnals Composer and/or Arranger: John Playford, 18th C. Tune Key: C Major Incipit: 11111 17 Used With Text: Response to Scripture
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[Praise be to Thee, O Christ]

Appears in 2 hymnals Composer and/or Arranger: John Playford (1674-1730) Tune Key: G Major Incipit: 13551 23432 23 Used With Text: Praise Be to Thee

Instances

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Published text-tune combinations (hymns) from specific hymnals
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Praise! praise! praise! praise be to Thee

Hymnal: Hymnal and Liturgies of the Moravian Church #946 (1920) Languages: English Tune Title: ASCRIPTON OF PRAISE
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Praise Be to Thee

Hymnal: Rejoice in the Lord #560 (1985) First Line: Praise be to thee, O Christ Lyrics: Praise be to thee, O Christ. Topics: Service Music Praise be to thee Languages: English Tune Title: Praise Be to Thee

People

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Authors, composers, editors, etc.

Anonymous

Person Name: Unknown Author of "To thee be praise forever" in The Brethren Hymnody 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.

Louis Bourgeois

1510 - 1561 Person Name: L. Bourgeois Composer of "OLD HUNDREDTH" in Social Hymns of Brotherhood and Aspiration 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

Samuel Webbe

1740 - 1816 Composer of "MELCOMBE" in Sing to the Lord Samuel Webbe (the elder; b. London, England, 1740; d. London, 1816) Webbe's father died soon after Samuel was born without providing financial security for the family. Thus Webbe received little education and was apprenticed to a cabinet­maker at the age of eleven. However, he was determined to study and taught himself Latin, Greek, Hebrew, French, German, and Italian while working on his apprentice­ship. He also worked as a music copyist and received musical training from Carl Barbant, organist at the Bavarian Embassy. Restricted at this time in England, Roman Catholic worship was freely permitted in the foreign embassies. Because Webbe was Roman Catholic, he became organist at the Portuguese Chapel and later at the Sardinian and Spanish chapels in their respective embassies. He wrote much music for Roman Catholic services and composed hymn tunes, motets, and madrigals. Webbe is considered an outstanding composer of glees and catches, as is evident in his nine published collections of these smaller choral works. He also published A Collection of Sacred Music (c. 1790), A Collection of Masses for Small Choirs (1792), and, with his son Samuel (the younger), Antiphons in Six Books of Anthems (1818). Bert Polman