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Search Results

Tune Identifier:"^when_low_in_heaven_the_sun_was_genevan$"

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Tunes

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[When low in heav'n the sun was now descended]

Appears in 3 hymnals Composer and/or Arranger: H. E. W. Tune Sources: Genevan CXXXVII, 1550 Tune Key: e minor Incipit: 13455 54567 57543 Used With Text: When low in heav'n the sun was now descended

Texts

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Hogy Babilon vizei mellett űltünk

Appears in 1 hymnal Scripture: Psalm 137 Used With Tune: [Hogy Babilon vizei mellett űltünk]

Assis au bord du fleuve, à Babylone

Author: Clément Marot; Charles Dombre; Konrad Jutzler; Margaret House Appears in 1 hymnal Topics: Times of Suffering and Persecution; Zeit des Leidens und der Verfolgung; Temps de Souffrance et de Persécution; Penitence; Reue; Humiliation, repentance Used With Tune: [Assis au bord du fleuve, à Babylone]
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When low in heav'n the sun was now descended

Author: R. B. Appears in 1 hymnal Used With Tune: [When low in heav'n the sun was now descended] Text Sources: Old German Hymn

Instances

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Published text-tune combinations (hymns) from specific hymnals
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When low in heav'n the sun was now descended

Author: R. B. Hymnal: Hymns #37 (1899) Languages: English Tune Title: [When low in heav'n the sun was now descended]

Hogy Babilon vizei mellett űltünk

Hymnal: Református énekes-könyv #82 (1918) Scripture: Psalm 137 Languages: Hungarian Tune Title: [Hogy Babilon vizei mellett űltünk]

Assis au bord du fleuve, à Babylone

Author: Clément Marot; Charles Dombre; Konrad Jutzler; Margaret House Hymnal: Cantate Domino #91 (1960) Topics: Times of Suffering and Persecution; Zeit des Leidens und der Verfolgung; Temps de Souffrance et de Persécution; Penitence; Reue; Humiliation, repentance Languages: French; German Tune Title: [Assis au bord du fleuve, à Babylone]

People

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Authors, composers, editors, etc.

Robert Bridges

1844 - 1930 Person Name: R. B. Translator of "When low in heav'n the sun was now descended" in Hymns Robert S. Bridges (b. Walmer, Kent, England, 1844; d. Boar's Hill, Abingdon, Berkshire, England, 1930) In a modern listing of important poets Bridges' name is often omitted, but in his generation he was consid­ered a great poet and fine scholar. He studied medicine and practiced as a physician until 1881, when he moved to the village of Yattendon. He had already written some poetry, but after 1881 his literary career became a full-time occupation, and in 1913 he was awarded the position of poet laureate in England. Bridges published The Yattendon Hymnal (1899), a collection of one hundred hymns (forty-four written or translated by him with settings mainly from the Genevan psalter, arranged for unaccompanied singing. In addition to volumes of poetry, Bridges also published A Practical Discourse on Some Principles of Hymn-Singing (1899) and About Hymns (1911). Bert Polman =================== Bridges, Robert Seymour, M.A., son of J. J. Bridges, of Walmer, Kent, was b. Oct. 23, 1844, and educated at Eton and at Corpus Christi College, Oxford (B.A. 1867, M.A. 1874). He took his M.A. in 1874, but retired from practice in 1882, and now (1906) resides at Yattendon, Berks. He is the author of many poems and plays. He edition and contributed to the Yattendon Hymnal, 1899 (originally printed at the Oxford Univ. Press in parts—Nos. 1-25, 1895; 26-50, 1897; 51-75, 1898; 76-100, 1899). [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

Louis Bourgeois

1510 - 1561 Person Name: Loys Bourgeois Composer of "[Assis au bord du fleuve, à Babylone]" in Cantate Domino 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

Claude Goudimel

1514 - 1572 Person Name: Goudimel Harmonizer of "[Assis au bord du fleuve, à Babylone]" in Cantate Domino The music of Claude Goudimel (b. Besançon, France, c. 1505; d. Lyons, France, 1572) was first published in Paris, and by 1551 he was composing harmonizations for some Genevan psalm tunes-initially for use by both Roman Catholics and Protestants. He became a Calvinist in 1557 while living in the Huguenot community in Metz. When the complete Genevan Psalter with its unison melodies was published in 1562, Goudimel began to compose various polyphonic settings of all the Genevan tunes. He actually composed three complete harmonizations of the Genevan Psalter, usually with the tune in the tenor part: simple hymn-style settings (1564), slightly more complicated harmonizations (1565), and quite elaborate, motet-like settings (1565-1566). The various Goudimel settings became popular throughout Calvinist Europe, both for domestic singing and later for use as organ harmonizations in church. Goudimel was one of the victims of the St. Bartholomew's Day massacre of Huguenots, which oc­curred throughout France. Bert Polman
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