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Of the Father's Love Begotten
Author: Aurelius Prudentius Clemens, 348-c.413 Meter: 8.7.8.7.8.8.7 Appears in 220 hymnals Topics: Annunciation of Our Lord, The Lyrics: 1 Of the Father's love begotten
Ere the worlds began to be,
He is Alpha and Omega,
He the source, the ending he,
Of the things that are, that have been,
And that future years shall see
Evermore and evermore.
2 Oh, that birth forever blessed,
When the virgin, full of grace,
By the Holy Ghost conceiving,
Bore the Savior of our race,
And the babe, the world's Redeemer,
First revealed his sacred face
Evermore and evermore.
3 This is he whom seers in old time
Chanted of with one accord,
Whom the voices of the prophets
Promised in their faithful word;
Now he shines, the long-expected;
Let creation praise its Lord
Evermore and evermore.
4 Let the heights of heav'n adore him;
Angel hosts, his praises sing:
Pow'rs, dominions, bow before him
And extol our God and King;
Let no tongue on earth be silent,
Ev'ry voice in concert ring
Evermore and evermore.
5 Christ, to you, with God the Father
And the Spirit, there shall be
Hymn and chant and high thanksgiving
And the shout of jubilee:
Honor, glory, and dominion
And eternal victory
Evermore and evermore! Used With Tune: DIVINUM MYSTERIUM Text Sources: Tr. composite
Of the Father's Love Begotten
Sing of Mary, pure and lowly
Author: Anon. Meter: 8.7.8.7 D Appears in 43 hymnals Topics: Saints' Days and Other Holy Days The Annunciation of the Blessed Virgin Mary, March 25 Used With Tune: HYMN TO JOY
Sing of Mary, pure and lowly
To a Maid Engaged to Joseph
Author: Gracia Grindal Meter: 7.6.7.6.7.6 Appears in 12 hymnals Topics: Annunciation Lyrics: 1 To a maid engaged to Joseph,
The angel Gabriel came.
“Fear not,” the angel told her,
“I come to bring good news,
Good news I come to tell you,
Good news, I say, good news.
2 “For you are highly favored
By God, the Lord of all,
Who even now is with you.
You are on earth most blest,
You are most blest, most blessèd,
God chose you, you are blest!”
3 But Mary was most troubled
To hear the angel’s word.
What was the angel saying?
It troubled her to hear,
To hear the angel’s message,
It troubled her to hear.
4 “Fear not, for God is with you,
And you shall bear a child.
His name shall be called Jesus,
God’s offspring from on high.
And He shall reign forever,
Forever reign on high.”
5 “How shall this be?” said Mary,
“I am not yet a wife.”
The angel answered quickly,
“The power of the Most High
Will come upon you shortly;
Your child will be God’s child.”
6 As Mary heard the angel,
She wondered at his words.
“Behold, I am your handmaid,”
She said unto her God.
“So be it; I am ready
According to your Word.”
Scripture: Luke 1:26-28 Used With Tune: ANNUNCIATION
To a Maid Engaged to Joseph
ANNUNCIATION
Meter: 7.6.7.6.7.6 Appears in 12 hymnals Composer and/or Arranger: Rusty Edwards Topics: Annunciation Tune Key: g minor Incipit: 12321 72155 61171 Used With Text: To a Maid Engaged to Joseph
ANNUNCIATION
DIVINUM MYSTERIUM
Meter: 8.7.8.7.8.8.7 Appears in 178 hymnals Topics: The Annunciation of Our Lord Tune Sources: Plainsong, mode V, 13th cent. Tune Key: E Flat Major Incipit: 12343 23213 45653 Used With Text: Of the Father's Love Begotten
DIVINUM MYSTERIUM
ST. THEODULPH
Meter: 7.6.7.6.7.6.7.6 Appears in 630 hymnals Composer and/or Arranger: Melchior Teschner, 1584-1635; William H. Monk, 1823-1889 Topics: The Liturgical Year The Annunciation of the Lord (March 25) Tune Key: B Flat Major Incipit: 15567 11321 17151 Used With Text: By All Your Saints Still Striving
ST. THEODULPH
The Annunciation
Author: F. Abair Hymnal: Sing for Joy #1 (1961) Topics: Annunciation First Line: One day while Mary knelt in prayer Lyrics: 1 One day while Mary knelt in prayer
She saw an angel standing there.
His glory filled the dwelling place.
He said to her, "Hail, full of Grace!"
2 Now Mary feared and bowed her head,
"Oh, do not hear," the angel said,
"For God shall send His Son to thee.
His holy Mother, thou shalt be."
3 Then Mary spoke the blessed word:
"Behold the Handmaid of the Lord.
As thou hast said, so be it done."
The Son of God became her Son.
Languages: English Tune Title: CONDITOR LAME
The Annunciation
To a Maid Whose Name Was Mary
Author: Gracia Grindal Hymnal: Singing the New Testament #6 (2008) Meter: 7.6.7.6.7.6 Topics: Annunciation Lyrics: 1 To a maid whose name was Mary,
the angel Gabriel came.
“Fear not,” the angel told her,
“I come to bring good news;
good news I come to tell you,
good news, I say, good news.”
2 “For you are highly favored
by God the Lord of all,
who even now is with you.
You are on earth most blest;
you are most blest, most blessed.
God chose you; you are blest!”
3 But Mary was most troubled
to hear the angel’s word.
What was the angel saying?
It troubled her to hear,
to hear the angel’s message;
it troubled her to hear.
4 “Fear not, for God is with you,
and you shall bear a child.
His name shall be called Jesus,
God’s offspring from on high.
And he shall reign forever,
forever reign on high.”
5 “How shall this be?” said Mary,
“I am not yet a wife.”
The angel answered quickly,
“The power of the Most High
will come upon you shortly;
your child shall be God’s child.”
6 As Mary heard the angel,
she wondered at his words.
“Behold, I am your handmaid,”
she said unto her God.
“So be it; I am ready
according to your word.” Scripture: Luke 1:26-38 Languages: English Tune Title: ANNUNCIATION
To a Maid Whose Name Was Mary
To a Maid Engaged to Joseph
Author: Gracia Grindal Hymnal: The Presbyterian Hymnal #19 (1990) Meter: 7.6.7.6.7.6 Topics: Annunciation Lyrics: 1 To a maid engaged to Joseph,
The angel Gabriel came.
“Fear not,” the angel told her,
“I come to bring good news,
Good news I come to tell you,
Good news, I say, good news.
2 “For you are highly favored
By God, the Lord of all,
Who even now is with you.
You are on earth most blest,
You are most blest, most blessèd,
God chose you, you are blest!”
3 But Mary was most troubled
To hear the angel’s word.
What was the angel saying?
It troubled her to hear,
To hear the angel’s message,
It troubled her to hear.
4 “Fear not, for God is with you,
And you shall bear a child.
His name shall be called Jesus,
God’s offspring from on high.
And He shall reign forever,
Forever reign on high.”
5 “How shall this be?” said Mary,
“I am not yet a wife.”
The angel answered quickly,
“The power of the Most High
Will come upon you shortly;
Your child will be God’s child.”
6 As Mary heard the angel,
She wondered at his words.
“Behold, I am your handmaid,”
She said unto her God.
“So be it; I am ready
According to your Word.”
Scripture: Luke 1:26-28 Languages: English Tune Title: ANNUNCIATION
To a Maid Engaged to Joseph
Orlando Gibbons
1583 - 1625 Person Name: Orlando Gibbons, 1583-1625 Topics: Holy Days and Various Occasions The Annunciation (March 25) Composer (melody and bass) of "SONG 34" in The Hymnal 1982 Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was an English composer, virginalist and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day.
Gibbons was born in Cambridge and christened at Oxford the same year – thus appearing in Oxford church records.
Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university in 1598 and achieved the degree of Bachelor of Music in 1606. James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and a monument to him was built in Canterbury Cathedral. A suspicion immediately arose that Gibbons had died of the plague, which was rife in England that year. Two physicians who had been present at his death were ordered to make a report, and performed an autopsy, the account of which survives in The National Archives:
We whose names are here underwritten: having been called to give our counsels to Mr. Orlando Gibbons; in the time of his late and sudden sickness, which we found in the beginning lethargical, or a profound sleep; out of which, we could never recover him, neither by inward nor outward medicines, & then instantly he fell in most strong, & sharp convulsions; which did wring his mouth up to his ears, & his eyes were distorted, as though they would have been thrust out of his head & then suddenly he lost both speech, sight and hearing, & so grew apoplectical & lost the whole motion of every part of his body, & so died. Then here upon (his death being so sudden) rumours were cast out that he did die of the plague, whereupon we . . . caused his body to be searched by certain women that were sworn to deliver the truth, who did affirm that they never saw a fairer corpse. Yet notwithstanding we to give full satisfaction to all did cause the skull to be opened in our presence & we carefully viewed the body, which we found also to be very clean without any show or spot of any contagious matter. In the brain we found the whole & sole cause of his sickness namely a great admirable blackness & syderation in the outside of the brain. Within the brain (being opened) there did issue out abundance of water intermixed with blood & this we affirm to be the only cause of his sudden death.
His death was a shock to peers and the suddenness of his passing drew comment more for the haste of his burial – and of its location at Canterbury rather than the body being returned to London. His wife, Elizabeth, died a little over a year later, aged in her mid-30s, leaving Orlando's eldest brother, Edward, to care for the children left orphans by this event. Of these children only the eldest son, Christopher Gibbons, went on to become a musician.
One of the most versatile English composers of his time, Gibbons wrote a quantity of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being "The Silver Swan"), and many popular verse anthems. His choral music is distinguished by his complete mastery of counterpoint, combined with his wonderful gift for melody. Perhaps his most well known verse anthem is This is the record of John, which sets an Advent text for solo countertenor or tenor, alternating with full chorus. The soloist is required to demonstrate considerable technical facility at points, and the work at once expresses the rhetorical force of the text, whilst never being demonstrative or bombastic. He also produced two major settings of Evensong, the Short Service and the Second Service. The former includes a beautifully expressive Nunc dimittis, while the latter is an extended composition, combining verse and full sections. Gibbons's full anthems include the expressive O Lord, in thy wrath, and the Ascension Day anthem O clap your hands together for eight voices.
He contributed six pieces to the first printed collection of keyboard music in England, Parthenia (to which he was by far the youngest of the three contributors), published in about 1611. Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits full mastery of three- and four-part counterpoint. Most of the fantasias are complex, multisectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody in both fantasias and dances features a capability for almost limitless development of simple musical ideas, on display in works such as Pavane in D minor and Lord Salisbury's Pavan and Galliard.
In the 20th century, the Canadian pianist Glenn Gould championed Gibbons's music, and named him as his favorite composer. Gould wrote of Gibbons's hymns and anthems: "ever since my teen-age years this music ... has moved me more deeply than any other sound experience I can think of." In one interview, Gould compared Gibbons to Beethoven and Webern:
...despite the requisite quota of scales and shakes in such half-hearted virtuoso vehicles as the Salisbury Galliard, one is never quite able to counter the impression of music of supreme beauty that lacks its ideal means of reproduction. Like Beethoven in his last quartets, or Webern at almost any time, Gibbons is an artist of such intractable commitment that, in the keyboard field, at least, his works work better in one's memory, or on paper, than they ever can through the intercession of a sounding-board.
To this day, Gibbons's obit service is commemorated every year in King's College Chapel, Cambridge.
--wikipedia.org
Orlando Gibbons
Jane Borthwick
1813 - 1897 Topics: The Annunciation Morning Prayer General Author of "Hasten the time appointed" in The Hymnal of the Protestant Episcopal Church in the United States of America 1940 Miss Jane Borthwick, the translator of this hymn and many others, is of Scottish family. Her sister (Mrs. Eric Findlater) and herself edited "Hymns from the Land of Luther" (1854). She also wrote "Thoughts for Thoughtful Hours (1859), and has contributed numerous poetical pieces to the "Family Treasury," under the signature "H.L.L."
--Annotations of the Hymnal, Charles Hutchins, M.A. 1872.
=================================
Borthwick, Jane, daughter of James Borthwick, manager of the North British Insurance Office, Edinburgh, was born April 9, 1813, at Edinburgh, where she still resides. Along with her sister Sarah (b. Nov. 26, 1823; wife of the Rev. Eric John Findlater, of Lochearnhead, Perthshire, who died May 2, 1886) she translated from the German Hymns from the Land of Luther, 1st Series, 1854; 2nd, 1855; 3rd, 1858; 4th, 1862. A complete edition was published in 1862, by W. P. Kennedy, Edinburgh, of which a reprint was issued by Nelson & Sons, 1884.
These translations, which represent relatively a larger proportion of hymns for the Christian Life, and a smaller for the Christian Year than one finds in Miss Winkworth, have attained a success as translations, and an acceptance in hymnals only second to Miss Winkworth's. Since Kennedy's Hymnologia Christiana, 1863, in England, and the Andover Sabbath Hymn Book, 1858, in America, made several selections therefrom, hardly a hymnal in England or America has appeared without containing some of these translations. Miss Borthwick has kindly enabled us throughout this Dictionary to distinguish between the 61 translations by herself and the 53 by her sister. Among the most popular of Miss Borthwick's may be named "Jesus still lead on," and "How blessed from the bonds of sin;" and of Mrs. Findlater's "God calling yet!" and "Rejoice, all ye believers."
Under the signature of H. L. L. Miss Borthwick has also written various prose works, and has contributed many translations and original poems to the Family Treasury, a number of which were collected and published in 1857, as Thoughts for Thoughtful Hours (3rd edition, enlarged, 1867). She also contributed several translations to Dr. Pagenstecher's Collection, 1864, five of which are included in the new edition of the Hymns from the Land of Luther, 1884, pp. 256-264. Of her original hymns the best known are “Come, labour on” and "Rest, weary soul.” In 1875 she published a selection of poems translated from Meta Heusser-Schweizer, under the title of Alpine Lyrics, which were incorporated in the 1884 edition of the Hymns from the Land of Luther. She died in 1897. [Rev. James Mearns, M.A.]
-- John Julian, Dictionary of Hymnology (1907)
========================
Borthwick, Jane, p. 163, ii. Other hymns from Miss Borthwick's Thoughtful Hours, 1859, are in common use:—
1. And is the time approaching. Missions.
2. I do not doubt Thy wise and holy will. Faith.
3. Lord, Thou knowest all the weakness. Confidence.
4. Rejoice, my fellow pilgrim. The New Year.
5. Times are changing, days are flying. New Year.
Nos. 2-5 as given in Kennedy, 1863, are mostly altered from the originals.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
=============
Works:
Hymns from the Land of Luther
Jane Borthwick
Caroline M. Noel
1817 - 1877 Topics: Saints' Days and Other Holy Days The Annunciation of the Blessed Virgin Mary, March 25 Author of "At the Name of Jesus" in The Book of Common Praise Caroline Marie Noel (b. Teston, Kent, England, 1817; d. St. Marylebone, London, England, 1877) The daughter of an Anglican clergyman and hymn writer, she began to write poetry in her late teens but then abandoned it until she was in her forties. During those years she suffered frequent bouts of illness and eventually became an invalid. To encourage both herself and others who were ill or incapacitated, Noel began to write devotional verse again. Her poems were collected in The Name of Jesus and Other Verses for the Sick and Lonely (1861, enlarged in 1870).
Bert Polman
================
Noel, Caroline Maria, daughter of the Hon. Gerard T. Noel (p. 809, ii.), and niece of the Hon. Baptist W. Noel, was born in London, April 10, 1817, and died at 39 Great Cumberland Place, Hyde Park, Dec. 7, 1877. Her first hymn, "Draw nigh unto my soul" (Indwelling), was written when she was 17. During the next three years she wrote about a dozen pieces: from 20 years of age to 40 she wrote nothing; and during the next 20 years the rest of her pieces were written. The first edition of her compositions was published as The Name of Jesus and Other Verses for the Sick and Lonely, in 1861. This was enlarged from time to time, and its title subsequently changed by the publishers to The Name of Jesus and Other Poems. The 1878 ed. contains 78 pieces.
Miss Noel, in common with Miss Charlotte Elliott, was a great sufferer, and many of these verses were the outcome of her days of pain. They are specially adapted "for the Sick and Lonely" and were written rather for private meditation than for public use, although several are suited to the latter purpose. Her best known hymn is the Processional for Ascension Day, "At the Name of Jesus." It is in the enlarged edition of The Name of Jesus, &c, 1870, p. 59, and is dated 1870 by her family.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
Caroline M. Noel
