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Praise, My Soul, the King of Heaven
Author: Henry Francis Lyte Meter: 8.7.8.7.8.7 Appears in 546 hymnals Topics: Scripture Songs; Worship; God the Father His Care and Guidance; Psalm Adaptations; Worship; liturgical Opening Hymns Lyrics: 1 Praise, my soul, the King of heaven;
to his feet your tribute bring.
Ransomed, healed, restored, forgiven,
evermore his praises sing.
Alleluia, alleluia!
Praise the everlasting King!
2 Praise him for his grace and favor
to his people in distress.
Praise him, still the same as ever,
slow to chide, and swift to bless.
Alleluia, alleluia!
Glorious in his faithfulness!
3 Fatherlike he tends and spares us;
well our feeble frame he knows.
In his hand he gently bears us,
rescues us from all our foes.
Alleluia, alleluia!
Widely yet his mercy flows!
4 Angels, help us to adore him;
you behold him face to face.
Sun and moon, bow down before him,
dwellers all in time and space.
Alleluia, alleluia!
Praise with us the God of grace!
Psalter Hymnal, (Gray)
Praise, My Soul, the King of Heaven
Tell Out, My Soul
Author: Timothy Dudley-Smith Meter: 10.10.10.10 Appears in 64 hymnals Topics: God Love and Mercy; God Majesty and Power; Scripture Songs; Worship First Line: Tell out, my soul, the greatness of the Lord
Tell Out, My Soul
I Am His, and He Is Mine
Author: Wade Robinson Meter: 7.7.7.7 D Appears in 96 hymnals Topics: Fellowship with God; Contentment; Fellowship with God; Peace Spiritual First Line: Loved with everlasting love
I Am His, and He Is Mine
TO GOD BE THE GLORY
Meter: 11.11.11.11 with refrain Appears in 208 hymnals Composer and/or Arranger: Doug Holck; William H. Doane Topics: God Father; God Our Father : His Adoration and Praise; God Our Father : His Love and Mercy; Salvation Tune Key: A Flat Major Incipit: 55671 51252 33464 Used With Text: To God Be the Glory
TO GOD BE THE GLORY
AR HYD Y NOS
Meter: 8.4.8.4.8.8.8.4 Appears in 302 hymnals Topics: Comfort & Rest; Father's Day; Love Of God; Provision; Trust Tune Sources: Welsh traditional; Jones' Relics of the Welsh Bards, 1784 Tune Key: G Major Incipit: 17612 17567 71176 Used With Text: Through the Love of God Our Father
AR HYD Y NOS
All Praise to God, Who Reigns Above
Author: Johann J. Schütz; Frances E. Cox Hymnal: Trinity Hymnal (Rev. ed.) #4 (1990) Meter: 8.7.8.7.8.8.7 Topics: God His perfections; Election; Covenant of Grace; God Faithfulness of; God Praise of; God Providence of; God Works of; Salvation by Grace Lyrics: 1 All praise to God, who reigns above,
the God of all creation,
the God of wonders, pow'r, and love,
the God of our salvation!
With healing balm my soul he fills,
the God who every sorrow stills.
To God all praise and glory!
2 What God's almighty pow'r hath made
his gracious mercy keepeth;
by morning dawn or evening shade
his watchful eye ne'er sleepeth;
within the kingdom of his might,
lo, all is just and all is right.
To God all praise and glory!
3 I cried to him in time of need:
Lord God, O hear my calling!
For death he gave me life indeed
and kept my feet from falling.
For this my thanks shall endless be;
O thank him, thank our God, with me.
To God all praise and glory!
4 The Lord forsaketh not his flock,
his chosen generation;
he is their refuge and their rock,
their peace and their salvation.
As with a mother's tender hand
he leads his own, his chosen band.
To God all praise and glory!
5 Ye who confess Christ's holy name,
to God give praise and glory!
Ye who the Father's pow'r proclaim,
to God give praise and glory!
All idols underfoot be trod,
the Lord is God! The Lord is God!
To God all praise and glory!
6 Then come before his presence now
and banish fear and sadness;
to your Redeemer pay your vow
and sing with joy and gladness:
Though great distress my soul befell,
the Lord, my God, did all things well,
To God all praise and glory! Scripture: Psalm 107:15 Languages: English Tune Title: MIT FREUDEN ZART
All Praise to God, Who Reigns Above
God of Concrete, God of Steel
Author: Richard G. Jones Hymnal: Hymns from the Four Winds #4 (1983) Topics: Praise and Adoration God's Creation; God Creation of God; God Gifts of God; God Glory of God; God Grace of God; Jesus Christ Easter - Resurrection Scripture: Genesis 1:1 Languages: English Tune Title: HUNAN
God of Concrete, God of Steel
Awesome God
Author: Richard Mullins Hymnal: Zion still Sings #7 (2007) Meter: Irregular Topics: Praise and Adoration God's Omnipotence; God's Glory and Power; God Love and Mercy; Worship and Adoration First Line: Our God is an awesome God Languages: English Tune Title: AWESOME GOD
Awesome God
John Bacchus Dykes
1823 - 1876 Person Name: John B. Dykes Topics: God The Trinity; Cosmos; God Holiness; Processional Hymns; Cosmos; God Holiness; God Mercy; God Mystery; Morning; Processional Hymns; Saints; Trinity Composer of "NICAEA" in The Worshiping Church As a young child John Bacchus Dykes (b. Kingston-upon-Hull' England, 1823; d. Ticehurst, Sussex, England, 1876) took violin and piano lessons. At the age of ten he became the organist of St. John's in Hull, where his grandfather was vicar. After receiving a classics degree from St. Catherine College, Cambridge, England, he was ordained in the Church of England in 1847. In 1849 he became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals. He served the parish of St. Oswald in Durham from 1862 until the year of his death. To the chagrin of his bishop, Dykes favored the high church practices associated with the Oxford Movement (choir robes, incense, and the like). A number of his three hundred hymn tunes are still respected as durable examples of Victorian hymnody. Most of his tunes were first published in Chope's Congregational Hymn and Tune Book (1857) and in early editions of the famous British hymnal, Hymns Ancient and Modern.
Bert Polman
John Bacchus Dykes
William Gardiner
1770 - 1853 Topics: Jesus Christ Praise and Thanksgiving; Adoration and Praise; Adoration and Praise; Closing Hymns; God Kingdom, Majesty, Realm; Gratitude; Jesus Christ Adoration and Praise; Jesus Christ Lamb of God; Jesus Christ Master; Jesus Christ name; Jesus Christ Praise; Jesus Christ Reign; Jesus Christ Saviour; Reverence/Wonder Before God; Salvation; Service; Service Music Sending Forth/Commissioning; Testimony; Epiphany 2 Year A; Easter 4 Year A; Trinity Sunday Year A; Proper 6 Year A; Proper 9 Year A; All Saints Year A; Epiphany 3 Year B; Proper 20 Year B; Proper 24 Year B; Easter 4 Year C; Proper 13 Year C; Proper 20 Year C; Proper 22 Year C; Reign of Christ Year C; Tuesday in Holy Week Year ABC Composer of "LYONS" in Voices United William Gardiner (b. Leicester, England, 1770; d. Leicester, 1853) The son of an English hosiery manufacturer, Gardiner took up his father's trade in addition to writing about music, composing, and editing. Having met Joseph Haydn and Ludwig van Beethoven on his business travels, Gardiner then proceeded to help popularize their compositions, especially Beethoven's, in England. He recorded his memories of various musicians in Music and Friends (3 volumes, 1838-1853). In the first two volumes of Sacred Melodies (1812, 1815), Gardiner turned melodies from composers such as Haydn, Mozart, and Beethoven into hymn tunes in an attempt to rejuvenate the singing of psalms. His work became an important model for American editors like Lowell Mason (see Mason's Boston Handel and Haydn Collection, 1822), and later hymnbook editors often turned to Gardiner as a source of tunes derived from classical music.
Bert Polman
William Gardiner
Orlando Gibbons
1583 - 1625 Person Name: Orlando Gibbons, 1583 - 1625 Topics: God Justice of; God: His Being, Word and Works God the Father Almighty: The Divine Attributes; Works of Providence Composer of "SONG 34" in The Book of Praise 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
