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Iglesia de Cristo

Author: Mateo Cosidó Appears in 24 hymnals Topics: La Iglesia First Line: Iglesia de Cristo, reanima tu amor Scripture: 1 Peter 2:9 Used With Tune: LYONS
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Tu Reino Amo, Oh Dios

Author: Timothy Dwight; Epigmenio Velasco Appears in 16 hymnals Topics: La Iglesia Used With Tune: ST. THOMAS
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Firmes y adelante

Author: Juan Bautista Cabrera, 1837-1916; Sabine Baring-Gould, 1834-1924 Appears in 37 hymnals Topics: La Iglesia en General Lyrics: 1 ¡Firme y adelante, Huestes de la fe, Sin temor alguno, Que Jesús nos ve! Jefe soberano, Cristo al frente va, Y la regia enseña Tremolando está. Coro: ¡Firme y adelante, Huestes de la fe, Sin temor alguno, Que Jesús nos ve! 2 Al sagrado nombre De nuestro adalid. Tiembla el enemigo Y huye de la lid. Nuestra es la victoria, Dad a Dios loor, Y óigalo el averno Lleno de pavor. [Coro] 3 Tronos y coronas Pueden perecer; De Jesús la iglesia Fiel habrá de ser; Nada en contra suya Prevalecerá, Porque la promesa Nunca faltará. 4 ¡Muévete potente, Pueblo del Señor! Y de triunfo en triunfo Marcha con valor. Eres sólo un cuerpo, Y uno es el Señor, Una la esperanza Y uno nuestro amor. Used With Tune: SAINT GERTRUDE

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DUKE STREET

Meter: 8.8.8.8 Appears in 1,471 hymnals Composer and/or Arranger: John Hatton, c. 1710-1793 Topics: Ritos de la Iglesia Exequias Tune Key: D Major Incipit: 13456 71765 55565 Used With Text: I Know That My Redeemer Lives! (Yo Sé Vive el Salvador)
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RESIGNATION

Meter: 8.6.8.6 D Appears in 105 hymnals Composer and/or Arranger: John L. Bell, b. 1949 Topics: Ritos de la Iglesia Christiana/Bautismo; Ritos de la Iglesia Cuidado Pastarol de los Enfermos; Ritos de la Iglesia Exequias Tune Sources: Funk's Compilation of Genuine Church Music, 1832 Tune Key: B Flat Major Incipit: 13532 35165 31351 Used With Text: My Shepherd, you Supply My Need (Señor, Tú Eres Mi Pastor)
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HOW GREAT THOU ART

Meter: 11.10.11.10 with refrain Appears in 147 hymnals Composer and/or Arranger: Stuart K. Hine, 1899-1989 Topics: Ritos de la Iglesia Exequias Tune Key: B Flat Major Incipit: 55535 55664 66665 Used With Text: How Great Thou Art (¡Cuán Grande Eres, Oh Señor)

Instances

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Published text-tune combinations (hymns) from specific hymnals

La Iglesia es Cristo en el mundo

Author: M. Bazán Hymnal: ¡Cantad al Señor! #46 (1991) Topics: La Iglesia Refrain First Line: Señor, orienta a tu Iglesia Languages: Spanish Tune Title: [La Iglesia es Cristo en el mundo]

Iglesia Peregrina

Author: Cesáreo Gabaráin, 1936-1991 Hymnal: Flor Y Canto (2nd ed.) #722 (2001) Topics: Ritos de la Iglesia Bautismo; Ritos de la Iglesia Confirmación First Line: Todos unidos formando un solo cuerpo Refrain First Line: Somos en la tierra semilla de otro reino Languages: Spanish Tune Title: [Todos unidos formando un solo cuerpo]
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De la iglesia el fundamento

Author: Juan Bautista Cabrera, 1837-1916; Samuel John Stone, 1839-1900 Hymnal: Culto Cristiano #135 (1964) Meter: 8.7.8.7.8.7.8.7 Topics: La Iglesia La Iglesia en General; La Iglesia Triumfante Lyrics: 1 De la iglesia el fundamento Es Jesús el Salvador; Por la obra de su gracia Le dio vida su Señor; Para hacerla esposa quiso De los cielos descender, Y su sangre por limpiarla En la horrible cruz verter. 2 De entre todas las naciones Escogida en variedad, Al través de las edades Se presenta en unidad; Y los títulos que ostenta Son, tener sólo un Señor, Una fe, sólo un bautismo, Un constante y puro amor. 3 Aunque el mundo, combatida Del error por el vaivén, Y de cismas desgarrada, La contemple con desdén: En vigilia están los fieles Y jamás cesan de orar; Lo que es hoy tristeza, pronto Será júbilo y cantar. 4 Al través de sufrimientos Y fatigas y dolor, El glorioso día espera En que vuelva su Señor; Consumada su carrera Y perfecta su salud, Entrará libre y triunfante En la eterna beatitud. Amén. Languages: Spanish Tune Title: WESTON

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S. Baring-Gould

1834 - 1924 Person Name: Sabine Baring-Gould, 1834-1924 Topics: La Iglesia en General Author of "Firmes y adelante" in Culto Cristiano Baring-Gould, Sabine, M.A., eldest son of Mr. Edward Baring-Gould, of Lew Trenchard, Devon, b. at Exeter, Jan. 28, 1834, and educated at Clare College, Cambridge, B.A. 1857, M.A. 1860. Taking Holy Orders in 1864, he held the curacy of Horbury, near Wakefield, until 1867, when he was preferred to the incumbency of Dalton, Yorks. In 1871 he became rector of East Mersea, Essex, and in 1881 rector of Lew Trenchard, Devon. His works are numerous, the most important of which are, Lives of the Saints, 15 vols., 1872-77; Curious Myths of the Middle Ages, 2 series, 1866-68; The Origin and Development of Religious Belief, 2 vols., 1869-1870; and various volumes of sermons. His hymns, original and translated, appeared in the Church Times; Hymns Ancient & Modern, 1868 and 1875; The People's Hymnal, 1867, and other collections, the most popular being "Onward, Christian soldiers," "Daily, daily sing the praises," the translation "Through the night of doubt and sorrow," and the exquisite Easter hymn, "On the Resurrection Morning." His latest effort in hymnology is the publication of original Church Songs, 1884, of which two series have been already issued. In the Sacristy for Nov. 1871, he also contributed nine carols to an article on "The Noels and Carols of French Flanders.” These have been partially transferred to Chope's and Staniforth's Carol Books, and also to his Church Songs. --John Julian, Dictionary of Hymnology (1907) ================== Baring-Gould, S., p. 114, i. Other hymns in common use are:— 1. Forward! said the Prophet. Processional. Appeared in the New Mitre Hymnal, 1874. 2. My Lord, in glory reigning. Christ in Glory. In Mrs. Brock's Children's Hymn Book, 1881. 3. Now severed is Jordan. Processional. Appeared in the S. Mary, Aberdeen, Hymnal, 1866, the People's Hymnal, 1867, &c. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Reginald Heber

1783 - 1826 Person Name: Reginald Heber, 1783-1826 Topics: La Iglesia Las Misiones Author of "De heladas cordilleras" in Culto Cristiano Reginald Heber was born in 1783 into a wealthy, educated family. He was a bright youth, translating a Latin classic into English verse by the time he was seven, entering Oxford at 17, and winning two awards for his poetry during his time there. After his graduation he became rector of his father's church in the village of Hodnet near Shrewsbury in the west of England where he remained for 16 years. He was appointed Bishop of Calcutta in 1823 and worked tirelessly for three years until the weather and travel took its toll on his health and he died of a stroke. Most of his 57 hymns, which include "Holy, Holy, Holy," are still in use today. -- Greg Scheer, 1995 ==================== Heber, Reginald, D.D. Born at Malpas, April 21, 1783, educated at Brasenose College, Oxford; Vicar of Hodnet, 1807; Bishop of Calcutta, 1823; died at Trichinopoly, India, April 3, 1826. The gift of versification shewed itself in Heber's childhood; and his Newdigate prize poem Palestine, which was read to Scott at breakfast in his rooms at Brazenose, Oxford, and owed one of its most striking passages to Scott's suggestion, is almost the only prize poem that has won a permanent place in poetical literature. His sixteen years at Hodnet, where he held a halfway position between a parson and a squire, were marked not only by his devoted care of his people, as a parish priest, but by literary work. He was the friend of Milman, Gifford, Southey, and others, in the world of letters, endeared to them by his candour, gentleness, "salient playfulness," as well as learning and culture. He was on the original staff of The Quarterly Review; Bampton Lecturer (1815); and Preacher at Lincoln's Inn (1822). His edition of Jeremy Taylor is still the classic edition. During this portion of his life he had often had a lurking fondness for India, had traced on the map Indian journeys, and had been tempted to wish himself Bishop of Calcutta. When he was forty years old the literary life was closed by his call to the Episcopate. No memory of Indian annals is holier than that of the three years of ceaseless travel, splendid administration, and saintly enthusiasm, of his tenure of the see of Calcutta. He ordained the first Christian native—Christian David. His first visitation ranged through Bengal, Bombay, and Ceylon; and at Delhi and Lucknow he was prostrated with fever. His second visitation took him through the scenes of Schwartz's labours in Madras Presidency to Trichinopoly, where on April 3,1826, he confirmed forty-two persons, and he was deeply moved by the impression of the struggling mission, so much so that “he showed no appearance of bodily exhaus¬tion." On his return from the service ”He retired into his own room, and according to his invariable custom, wrote on the back of the address on Confirmation 'Trichinopoly, April 3, 1826.' This was his last act, for immediately on taking off his clothes, he went into a large cold bath, where he had bathed the two preceding mornings, but which was now the destined agent of his removal to Paradise. Half an hour after, his servant, alarmed at his long absence, entered the room and found him a lifeless corpse." Life, &c, 1830, vol. ii. p. 437. Heber's hymns were all written during the Hodnet period. Even the great missionary hymn, "From Greenland's icy mountains," notwithstanding the Indian allusions ("India's coral strand," "Ceylon's isle"), was written before he received the offer of Calcutta. The touching funeral hymn, "Thou art gone to the grave," was written on the loss of his first babe, which was a deep grief to him. Some of the hymns were published (1811-16) in the Christian Observer, the rest were not published till after his death. They formed part of a ms. collection made for Hodnet (but not published), which contained, besides a few hymns from older and special sources, contributions by Milman. The first idea of the collection appears in a letter in 1809 asking for a copy of the Olney Hymns, which he "admired very much." The plan was to compose hymns connected with the Epistles and Gospels, to be sung after the Nicene Creed. He was the first to publish sermons on the Sunday services (1822), and a writer in The Guardian has pointed out that these efforts of Heber were the germs of the now familiar practice, developed through the Christian Year (perhaps following Ken's Hymns on the Festivals), and by Augustus Hare, of welding together sermon, hymnal, and liturgy. Heber tried to obtain from Archbishop Manners Sutton and the Bishop of London (1820) authorization of his ms. collection of hymns by the Church, enlarging on the "powerful engine" which hymns were among Dissenters, and the irregular use of them in the church, which it was impossible to suppress, and better to regulate. The authorization was not granted. The lyric spirit of Scott and Byron passed into our hymns in Heber's verse; imparting a fuller rhythm to the older measures, as illustrated by "Oh, Saviour, is Thy promise fled," or the martial hymn, "The Son of God goes forth to war;" pressing into sacred service the freer rhythms of contemporary poetry (e.g. "Brightest and best of the sons of the morning"; "God that madest earth and heaven"); and aiming at consistent grace of literary expression.. Their beauties and faults spring from this modern spirit. They have not the scriptural strength of our best early hymns, nor the dogmatic force of the best Latin ones. They are too flowing and florid, and the conditions of hymn composition are not sufficiently understood. But as pure and graceful devotional poetry, always true and reverent, they are an unfailing pleasure. The finest of them is that majestic anthem, founded on the rhythm of the English Bible, "Holy, Holy, Holy, Lord God Almighty." The greatest evidence of Heber's popularity as a hymnwriter, and his refined taste as a compiler, is found in the fact that the total contents of his ms. collection which were given in his posthumous Hymns written and adapted to the Weekly Church Service of the Year. London, J. Murray, 1827; which included 57 hymns by Heber, 12 by Milman, and 29 by other writers, are in common in Great Britain and America at the present time. [Rev. H. Leigh Bennett, M.A.] Of Bishop Heber's hymns, about one half are annotated under their respective first lines. Those given below were published in Heber's posthumous Hymns, &c, 1827. Some of them are in extensive use in Great Britain and America; but as they possess no special histories they are grouped together as from the Hymns, &c, 1827:— 1. Beneath our feet, and o'er our head. Burial. 2. Creator of the rolling flood. St. Peter's Day, or, Gospel for 6th Sunday after Trinity. 3. Lo, the lilies of the field. Teachings of Nature: or, Gospel for 15th Sunday after Trinity. 4. 0 God, by Whom the seed is given. Sexagesima. 6. 0 God, my sins are manifold. Forgiveness, or, Gospel for 22nd S. after Trinity. 6. 0 hand of bounty, largely spread. Water into Wine, or, Gospel for 2nd S. after Epiphany. 7. 0 King of earth, and air, and sea. Feeding the Multitude; or, Gospel for 4th S. in Lent. 8. 0 more than merciful, Whose bounty gave. Good Friday. 9. 0 most merciful! 0 most bountiful. Introit Holy Communion. 10. 0 Thou, Whom neither time nor space. God unsearchable, or, Gospel for 5th Sunday in Lent. 11. 0 weep not o'er thy children's tomb. Innocents Day. 12. Room for the proud! Ye sons of clay. Dives and Lazarus, or, Gospel for 1st Sunday after Trinity. 13. Sit thou on my right hand, my Son, saith the Lord. Ascension. 14. Spirit of truth, on this thy day. Whit-Sunday. 15. The feeble pulse, the gasping breath. Burial, or, Gospel for 1st S. after Trinity. 16. The God of glory walks His round. Septuagesima, or, the Labourers in the Marketplace. 17. The sound of war in earth and air. Wrestling against Principalities and Powers, or, Epistle for 2lst Sunday after Trinity. 18. The world is grown old, her pleasures are past. Advent; or, Epistle for 4th Sunday in Advent. 19. There was joy in heaven. The Lost Sheep; or, Gospel for 3rd S. after Trinity. 20. Though sorrows rise and dangers roll. St. James's Day. 21. To conquer and to save, the Son of God. Christ the Conqueror. 22. Virgin-born, we bow before Thee. The Virgin Mary. Blessed amongst women, or, Gospel for 3rd S. in Lent. 23. Wake not, 0 mother, sounds of lamentation. Raising the Widow's Son, or, Gospel for 16th S. after Trinity. 24. When on her Maker's bosom. Holy Matrimony, or, Gospel for 2nd S. after Epiphany. 25. When through the torn sail the wild tempest is streaming. Stilling the Sea, or, Gospel for 4th Sunday after Epiphany. 26. Who yonder on the desert heath. The Good Samaritan, or, Gospel for 13th Sunday after Trinity. This list is a good index of the subjects treated of in those of Heber's hymns which are given under their first lines, and shows that he used the Gospels far more than the Epistles in his work. --John Julian, Dictionary of Hymnology (1907)

John Bacchus Dykes

1823 - 1876 Person Name: John B. Dykes, 1823-1876 Topics: Ritos de la Iglesia Eucaristía Composer of "ST. AGNES" in Oramos Cantando = We Pray In Song 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