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O My Soul, Bless God the Father
Appears in 33 hymnals Topics: Psalm Paraphrases Scripture: Psalm 103 Used With Tune: STUTTGART Text Sources: Paraphrase in The Book of Psalms, 1871
O My Soul, Bless God the Father
My Shepherd Will Supply My Need
Author: Isaac Watts Appears in 240 hymnals Topics: Psalm Paraphrases Scripture: Psalm 23:1 Used With Tune: RESIGNATION Text Sources: Psalm 23, paraphrased
My Shepherd Will Supply My Need
Joy to the World
Author: Isaac Watts, 1674-1748 Meter: 8.6.8.6 with refrain Appears in 1,894 hymnals Topics: Psalm paraphrase First Line: Joy to the world, the Lord is come! Lyrics: 1 Joy to the world, the Lord is come!
Let earth receive her King:
Let ev'ry heart prepare Him room
And heav'n and nature sing,
And heav'n and nature sing,
And heav'n, and heav'n and nature sing.
2 Joy to the earth, the Savior reigns!
Let men their songs employ,
While fields and floods, rocks, hills, and plains
Repeat the sounding joy,
Repeat the sounding joy,
Repeat, repeat the sounding joy.
3 No more let sins and sorrows grow
Nor thorns infest the ground;
He comes to make His blessings flow
Far as the curse is found,
Far as the curse is found,
Far as, far as the curse is found.
4 He rules the world with truth and grace
And makes the nations prove
The glories of His righteousness
And wonders of His love,
And wonders of His love,
And wonders, wonders of His love.
Scripture: Psalm 98 Used With Tune: ANTIOCH
Joy to the World
ST. COLUMBA
Meter: 8.7.8.7 Appears in 204 hymnals Topics: Psalm paraphrase Tune Sources: Irish, c. 18th cent.; Service Book and Hymnal, 1958 (Setting) Tune Key: E Flat Major Incipit: 12345 45321 12345 Used With Text: The King of Love My Shepherd Is
ST. COLUMBA
EIN FESTE BURG (Rhythmic)
Meter: 8.7.8.7.5.5.5.6.7 Appears in 700 hymnals Composer and/or Arranger: Martin Luther, 1483-1546 Topics: Psalm paraphrase Tune Sources: The Lutheran Hymnal, 1941 (Setting) Tune Key: C Major Incipit: 11156 71765 17656 Used With Text: A Mighty Fortress Is Our God
EIN FESTE BURG (Rhythmic)
O Praise the Lord
Hymnal: Great Songs of the Church (Revised) #46 (1986) Topics: Psalm Paraphrases First Line: O praise the Lord, all ye nations Lyrics: O praise the Lord, all ye nations;
Praise Him, all ye people, praise Him all ye people.
O praise the Lord, Praise Him, all ye people,
For His merciful kindness is great tow'rd us, is great tow'rd us;
and the truth of the Lord endureth for ever,
for ever and ever, ever and ever: Praise ye the Lord. Scripture: Psalm 117 Languages: English Tune Title: HILL
O Praise the Lord
Hallelujah, Praise Jehovah!
Hymnal: Great Songs of the Church (Revised) #50 (1986) Topics: Psalm Paraphrases Refrain First Line: Let them praises give Jehovah, For His name alone is high Scripture: Psalm 148 Languages: English Tune Title: AINOS
Hallelujah, Praise Jehovah!
O Lord, Our Lord
Hymnal: Great Songs of the Church (Revised) #54 (1986) Topics: Psalm Paraphrases First Line: O Lord, our Lord, how excellent Thy name Lyrics: O Lord, our Lord, how excellent Thy name;
How excellent is Thy name in all the earth;
Who has set Thy glory above the heav'ns!
We'll praise Thy holy name for ever, evermore.
O Lord, our Lord how excellent Thy name;
O Lord our Lord, how excellent Thy name.
We will praise Thy name for evermore,
We will praise Thy name for evermore,
We will laud and magnify Thy name for evermore.
For ever, and ever, We will magnify Thy name.
Amen, Amen, Amen. Scripture: Psalm 8:1 Languages: English Tune Title: PALMER
O Lord, Our Lord
John Wesley
1703 - 1791 Topics: Psalm Paraphrases Translator of "Give to the Winds Thy Fears" in Great Songs of the Church (Revised) John Wesley, the son of Samuel, and brother of Charles Wesley, was born at Epworth, June 17, 1703. He was educated at the Charterhouse, London, and at Christ Church, Oxford. He became a Fellow of Lincoln College, Oxford, and graduated M.A. in 1726. At Oxford, he was one of the small band consisting of George Whitefield, Hames Hervey, Charles Wesley, and a few others, who were even then known for their piety; they were deridingly called "Methodists." After his ordination he went, in 1735, on a mission to Georgia. The mission was not successful, and he returned to England in 1738. From that time, his life was one of great labour, preaching the Gospel, and publishing his commentaries and other theological works. He died in London, in 1791, in his eighty-eighth year. His prose works are very numerous, but he did not write many useful hymns. It is to him, however, and not to his brother Charles, that we are indebted for the translations from the German.
--Annotations of the Hymnal, Charles Hutchins, M.A., 1872
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John Wesley, M.A., was born at Epworth Rectory in 1703, and, like the rest of the family, received his early education from his mother. He narrowly escaped perishing in the fire which destroyed the rectory house in 1709, and his deliverance made a life-long impression upon him. In 1714 he was nominated on the foundation of Charterhouse by his father's patron, the Duke of Buckingham, and remained at that school until 1720, when he went up, with a scholarship, from Charterhouse to Christ Church, Oxford. Having taken his degree, he received Holy Orders from the Bishop of Oxford (Dr. Potter) in 1725. In 1726 he was elected Fellow of Lincoln College, and remained at Oxford until 1727, when he returned into Lincolnshire to assist his father as curate at Epworth and Wroot. In 1729 he was summoned back to Oxford by his firm friend, Dr. Morley, Rector of Lincoln, to assist in the College tuition. There he found already established the little band of "Oxford Methodists" who immediately placed themselves under his direction. In 1735 he went, as a Missionary of the Society for the Propagation of the Gospel, to Georgia, where a new colony had been founded under the governorship of General Oglethorpe. On his voyage out he was deeply impressed with the piety and Christian courage of some German fellow travellers, Moravians. During his short ministry in Georgia he met with many discouragements, and returned home saddened and dissatisfied both with himself and his work; but in London he again fell in with the Moravians, especially with Peter Bohler; and one memorable night (May 24, 1738) he went to a meeting in Aldersgate Street, where some one was reading Luther's preface to the Epistle to the Romans. There, "About a quarter before nine, while he was describing the change which God works in the heart through faith in Christ, I felt my heart strangely warmed. I felt I did trust in Christ, Christ alone, for salvation; and an assurance was given me, that He had taken away my sins, even mine, and saved me from the law of sin and death." From that moment his future course was sealed; and for more than half a century he laboured, through evil report and good report, to spread what he believed to be the everlasting Gospel, travelling more miles, preaching more sermons, publishing more books of a practical sort, and making more converts than any man of his day, or perhaps of any day, and dying at last, March 2, 1791, in harness, at the patriarchal age of 88.
The popular conception of the division of labour between the two brothers in the Revival, is that John was the preacher, and Charles the hymnwriter. But this is not strictly accurate. On the one hand Charles was also a great preacher, second only to his brother and George Whitefield in the effects which he produced. On the other hand, John by no means relegated to Charles the exclusive task of supplying the people with their hymns. John Wesley was not the sort of man to depute any part of his work entirely to another: and this part was, in his opinion, one of vital importance. With that wonderful instinct for gauging the popular mind, which was one element in his success, he saw at once that hymns might be utilized, not only for raising the devotion, but also for instructing, and establishing the faith of his disciples. He intended the hymns to be not merely a constituent part of public worship, but also a kind of creed in verse. They were to be "a body of experimental and practical divinity." "In what other publication," he asks in his Preface to the Wesleyan Hymn Book, 1780 (Preface, Oct. 20,1779), "have you so distinct and full an account of Scriptural Christianity; such a declaration of the heights and depths of religion, speculative and practical; so strong cautions against the most plausible errors, particularly those now most prevalent; and so clear directions for making your calling and election sure; for perfecting holiness in the fear of God?" The part which he actually took in writing the hymns, it is not easy to ascertain; but it is certain that more than thirty translations from the German, French and Spanish (chiefly from the German) were exclusively his; and there are some original hymns, admittedly his composition, which are not unworthy to stand by the side of his brother's. His translations from the German especially have had a wide circulation. Although somewhat free as translations they embody the fire and energy of the originals.
It has been the common practice, however for a hundred years or more to ascribe all translations from the German to John Wesley, as he only of the two brothers knew that language; and to assign to Charles Wesley all the original hymns except such as are traceable to John Wesley through his Journals and other works.
The list of 482 original hymns by John and Charles Wesley listed in this Dictionary of Hymnology have formed an important part of Methodist hymnody and show the enormous influence of the Wesleys on the English hymnody of the nineteenth century.
-- Excerpts from John Julian, Dictionary of Hymnology (1907)
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Hymn Writers of the Church
John Wesley
Louis Bourgeois
1510 - 1561 Person Name: Louis Bourgeois, c. 1510-1561 Topics: Psalm Paraphrases Composer (attributed to) of "OLD HUNDREDTH" in The New Century 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 Croft
1678 - 1727 Person Name: William Croft, 1678-1727 Topics: Psalm paraphrase Psalm 90 Composer of "ST. ANNE" in Lutheran Service Book William Croft, Mus. Doc. was born in the year 1677 and received his musical education in the Chapel Royal, under Dr. Blow. In 1700 he was admitted a Gentleman Extraordinary of the Chapel Boyd; and in 1707, upon the decease of Jeremiah Clarke, he was appointed joint organist with his mentor, Dr. Blow. In 1709 he was elected organist of Westminster Abbey. This amiable man and excellent musician died in 1727, in the fiftieth year of his age. A very large number of Dr. Croft's compositions remain still in manuscript.
Cathedral chants of the XVI, XVII & XVIII centuries, ed. by Edward F. Rimbault, London: D. Almaine & Co., 1844
William Croft
