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Author: Stuart K. Hine; Carl Gustav Boberg Meter: 11.10.11.10 with refrain Appears in 137 hymnals Topics: Adoration; God Majesty and Power; Worship First Line: O Lord my God, when I in awesome wonder Refrain First Line: Then sings my soul, my Savior God, to thee

Praise God From Whom All Blessings Flow

Author: Thomas Ken Meter: 8.8.8.8 Appears in 1,226 hymnals First Line: Praise God, from whom all blessings flow (Ken) Lyrics: Praise God, from whom all blessings flow; Praise Him, all creatures here below; Praise Him above, ye heav'nly host; Praise Father, Son, and Holy Ghost. Amen. Baptist Hymnal, 1991

Blessed Quietness

Author: M. P. Ferguson Meter: 8.7.8.7 with refrain Appears in 162 hymnals Topics: Comforter; Peace Spiritual; Whitsunday First Line: Joys are flowing like a river Refrain First Line: Blessed quietness, holy quietness

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Tunes

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OLD 100th

Appears in 1,892 hymnals Topics: God, Father Creating and Sustaining; Jubilate Deo; Doxologies; The Creation; Epiphany 2, Revelation The First Disciples; Easter 2 The Good Shepherd; Trinity Sunday The Trinity; Pentecost 5 The Church's Mission to All Tune Sources: Genevan Psalter 1551 Tune Key: G Major Incipit: 11765 12333 32143 Used With Text: All people that on earth do dwell

[Kjærlighed er Lysets Kilde]

Appears in 9 hymnals Composer and/or Arranger: Ludv. M. Lindeman Topics: First Pentecost Day High Mass Tune Key: A Major Incipit: 15651 35233 25675 Used With Text: Kjærlighed er Lysets Kilde

[Fred til Bod for bittert Savn]

Appears in 14 hymnals Composer and/or Arranger: J. P. E. Hartmann Topics: First Pentecost Day For Evening Tune Key: G Major or modal Incipit: 33561 23531 71432 Used With Text: Fred til Bod for bittert Savn

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Instances

Published text-tune combinations (hymns) from specific hymnals

Kom, Hellige Aand, Herre Gud!

Author: Landstad; Luther Hymnal: M. B. Landstads Kirkesalmebog og "Nokre Salmar" ved Professor Dr. E. Blix, samt følgende tillæg #429 (1897) Topics: First Pentecost High Mass; First Pentecost Day High Mass Lyrics: 1 Kom, Hellige Aand, Herre Gud! Gyd dine Naadegaver ud, I Sjæl og Hjerte os dem send, Og Kjærlighednes Ild optend! O Herre, ved din Glød faa klar Til Troen ind du samlet har Al Verdens Folk og Slægter mange Og Tungemaal med Takkesange! Halleluja, Halleluja! 2 Du hellige Lys, lad paa Jord Oplyse os dit Livsens Ord, Og lær os Gud at kjende grant, Med Faders Navn ham kalde sandt! O Herre, vogt vor Lærdoms Vei, At andet vi forkynde ei, End Jesum og hans Ord det rene, Og sætte Tro til ham alene! Halleluja, Halleluja! 3 Du hellige Ild, søde Trøst, Gjør brændende af Mod vort Bryst, At fra den Pagt, med Gud er gjort, Os Korset aldrig skræmmer bort! O Herre, med din Kraft os herd, Styrk Vanmagt vor paa denne Ferd, At mandelig vi stride sammen I Liv og Død til Himlen! Amen. Halleluja, Halleluja! Languages: Norwegian Tune Title: [Kom, Hellige Aand, Herre Gud!]

O Helligaand du Skat saa skjøn

Hymnal: Kirkesalmebog #431 (1893) Topics: First Pentecost Day High Mass; First Pentecost Day High Mass Lyrics: 1 O Helligaand, du Skat saa skjøn, Som gjør os evig rige, Du, som med Fader og med Søn I Guddoms Magt er lige, Og gaar saa fra dem begge ud, Fra Evighed en mægtig Gud, Som alle Kristne prise! 2 Med Bøn vi falde dig til Fod: O lær du os alene Af ganske Hjerte, Hu og Mod Vor Frelsermand at tjene, Og hannem udi al vor Nød For Herre over Liv og Død At kjende og at prise! 3 Gjør al vor Levnets Vandring ny, Og vore Veie rene; Hjælp os Forargelser at sky, Og tjene Herren ene, At vi kan Jesu Kristi Tro For Verdens Børn, som hos os bo, Med kristen Idræt vise! 4 Din Naade-Dug lad til enhver Guds Kirkes Lem nedflyde, Lad hver en Sjæl, som saaret er, Din søde Salve nyde! Giv Kraft i Korsets haarde Tid, Lad Kjærlighed i al vor Id Imod vor Næste vises! 5 Giv Styrke og et freidigt Mod At træde mod vor Fiende, At vi mod Verden, Kjød og Blod Og Satan Seier vinde! Naar Døden løsner Livets Baand, Lad Sjælen gjemmes i din Haand, Og Kroppen rolig hvile! Languages: Norwegian

Aand over Aander, kom ned fra det Høie

Author: J. N. Brun Hymnal: M. B. Landstads Kirkesalmebog og "Nokre Salmar" ved Professor Dr. E. Blix, samt følgende tillæg #432 (1897) Topics: First Pentecost High Mass; First Pentecost Day For Evening Lyrics: 1 Aand over Aander, kom ned fra det Høie, Evig med Fader og Sønnen een Gud! Kom, vore Sjæle tilsammen at føie, Kom, at berede den himmelske Brud! Kalde, forsamle og Jesus forklare, Bygge Guds Kirke, oplyse hans Folk, Det er din Gjerning: lad os den erfare, Kom, du Guds Kjærligheds mægtige Tolk! 2 Mildeste Jesu, du hevner dig kjærlig! Sender os Aanden, Forjættelsens Pant. Nu blev Forsoningen tydet os herlig, Troen den kjender, dit Tilsagn er sandt; Vidnerne krones med bændende Tunger, Hver af dem taler det Maal, som han vil! Brænder i Aanden, Forløste, og sjunger Hannem til Ære, som tendte den Ild! 3 Himmelske Trøster, din Olje lad flyde Ind udi Hjerternes dybeste Saar! Styrk os i Striden, og giv os at nyde Frugten af Frelsen, som alting formaar! Skab inden i os fornyede Hjerter, Led os i Sandhed, ophold os i Nød, Gjør os taalmodige midt under Smerter, Vær du vor levende Kraft i vor Død! Languages: Norwegian

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People

Authors, composers, editors, etc.

William Kethe

? - 1594 Person Name: W. Kethe (died 1594) Topics: God, Father Creating and Sustaining; Jubilate Deo; Doxologies; The Creation; Epiphany 2, Revelation The First Disciples; Easter 2 The Good Shepherd; Trinity Sunday The Trinity; Pentecost 5 The Church's Mission to All Author of "All people that on earth do dwell" in Hymns for Today's Church (2nd ed.) William Kethe (b. Scotland [?], d. Dorset England, c. 1594). Although both the time and place of Kethe's birth and death are unknown, scholars think he was a Scotsman. A Protestant, he fled to the continent during Queen Mary's persecution in the late 1550s. He lived in Geneva for some time but traveled to Basel and Strasbourg to maintain contact with other English refugees. Kethe is thought to be one of the scholars who translated and published the English-language Geneva Bible (1560), a version favored over the King James Bible by the Pilgrim fathers. The twenty-five psalm versifications Kethe prepared for the Anglo-Genevan Psalter of 1561 were also adopted into the Scottish Psalter of 1565. His versification of Psalm 100 (All People that on Earth do Dwell) is the only one that found its way into modern psalmody. Bert Polman ======================== Kethe, William, is said by Thomas Warton in his History of English Poetry, and by John Strype in his Annals of the Reformation, to have been a Scotsman. Where he was born, or whether he held any preferment in England in the time of Edward VI., we have been unable to discover. In the Brieff discours off the troubles begonne at Franckford, 1575, he is mentioned as in exile at Frankfurt in 1555, at Geneva in 1557; as being sent on a mission to the exiles in Basel, Strassburg, &c, in 1558; and as returning with their answers to Geneva in 1559. Whether he was one of those left behind in 1559 to "finishe the bible, and the psalmes bothe in meeter and prose," does not appear. The Discours further mentions him as being with the Earl of Warwick and the Queen's forces at Newhaven [Havre] in 1563, and in the north in 1569. John Hutchins in his County history of Dorset, 1774, vol. ii. p. 316, says that he was instituted in 1561 as Rector of Childe Okeford, near Blandford. But as there were two Rectors and only one church, leave of absence might easily be extended. His connection with Okeford seems to have ceased by death or otherwise about 1593. The Rev. Sir Talbot H. B. Baker, Bart., of Ranston, Blandford, who very kindly made researches on the spot, has informed me that the Registers at Childe Okeford begin with 1652-53, that the copies kept in Blandford date only from 1732 (the earlier having probably perished in the great fire there in 1731), that no will can be found in the district Probate Court, and that no monument or tablet is now to be found at Childe Okeford. By a communication to me from the Diocesan Registrar of Bristol, it appears that in a book professing to contain a list of Presentations deposited in the Consistory Court, Kethe is said to have been presented in 1565 by Henry Capel, the Patron of Childe Okeford Inferior. In the 1813 edition of Hutchins, vol. iii. pp. 355-6, William Watkinson is said to have been presented to this moiety by Arthur Capel in 1593. Twenty-five Psalm versions by Kethe are included in the Anglo-Genevan Psalter of 1561, viz. Ps. 27, 36, 47, 54, 58, 62, 70, 85, 88, 90, 91, 94, 100, 101, 104, 107, 111, 112, 113, 122, 125, 126, 134, 138, 142,—the whole of which were adopted in the Scottish Psalter of 1564-65. Only nine, viz. Ps. 104, 107, 111, 112, 113, 122, 125, 126, 134, were included in the English Psalter of 1562; Ps. 100 being however added in 1565. Being mostly in peculiar metres, only one, Ps. 100, was transferred to the Scottish Psalter of 1650. The version of Ps. 104, "My soul, praise the Lord," is found, in a greatly altered form, in some modern hymnals. Warton calls him ”a Scotch divine, no unready rhymer," says he had seen a moralisation of some of Ovid by him, and also mentions verses by him prefixed to a pamphlet by Christopher Goodman, printed at Geneva in 1558; a version of Ps. 93 added to Knox's Appellation to the Scottish Bishops, also printed at Geneva in 1558; and an anti-papal ballad, "Tye the mare Tom-boy." A sermon he preached before the Sessions at Blandford on Jan. 17, 1571, was printed by John Daye in 1571 (preface dated Childe Okeford, Jan. 29,157?), and dedicated to Ambrose Earl of Warwick. [Rev James Mearns, M.A]. -- John Julian, Dictionary of Hymnology (1907) ==================== Kethe, William, p. 624, i., line 30. The version which Warton describes as of Psalm 93 is really of Psalm 94, and is that noted under Scottish Hymnody, p. 1022, ii., as the version of Psalms 94 by W. Kethe. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Wolfgang Amadeus Mozart

1756 - 1791 Person Name: W. A. Mozart (1756-1791) Topics: Christmas 1 The Incarnation; Epiphany 2, Revelation The First Disciples; God's Church Commitment and Character; Pentecost 18 The Offering of Life Composer of "NOTTINGHAM" in Hymns for Today's Church (2nd ed.) Wolfgang Amadeus Mozart Austria 1756-1791. Born at Salzburg, Austria, the son of Leopold Mozart, a minor composer and violinist, and youngest of seven children, he showed amazing ability on violin and keyboard from earliest childhood, even starting to compose music at age four when his father would play a piece and Mozart would play it exactly as did his father. At five, he composed some of his own music, which he played to his father, who wrote it down. When Mozart was eight, he wrote his first symphony, probably transcribed by his father. In his early years his father was his only teacher, teaching his children languages and academic subjects, as well as fundamentals of their strict Catholic faith. Some of his early compositions came as a surprise to his father, who eventually gave up composing himself when he realized how talented his son was. His family made several European journeys and he and his sister, Nanneri, performed as child prodigies, at the court of Prince-elector Maximillian II of Bavaria in Munich, and at the Imperial Courts in Vienna and Prague. A long concert tour followed, for 3.5 years, taking the family to courts in Munich, Mannheim, Paris, London, Dover, The Hague, Amsterdam, Utrecht, Mechelen, and again to Paris, and back home via Zurich, Donaueschingen, and Munich. During these trips Mozart met many musicians, acquainting himself with the works of other composers. He met Johann Christian Bach in London in 1764. Family trips were challenging, and travel conditions were primitive. They had to wait for invitations and reimbursements from nobility, and they endured long, near-fatal illnesses far from home. First Leopold (1764) got sick, then both children (1765). They traveled again to Vienna in 1767 and stayed there over a year. After a year back in Salzburg, Leopold and Wolfgang went to Italy (1769-1771), Leopold wished to display his son’s abilities as a performer and maturing composer. In Bologna, Italy, Wolfgang was accepted as a member of the famous Academia Filamonica. In Rome he heard Gregorio Allegri’s Miserere twice in performance. Back in the Sistine Chapel, Mozart wrote the whole performance out from memory, thus producing the first unauthorized copy of this closely guarded property of the Vatican. In the next few years Mozart wrote several operas performed with success in Italy, but his father’s hopes of securing a professional appointment for his son were not realized. At age 17 he was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. After returning to Salzburg, Mozart was employed as a court musician by the ruler of Salzburg, Prince Archbishop Hieronymus Colloredo. This gave Mozart ample opportunity to develop relationships with other musicians and his admirers, resulting in his development of new symphonies, sonatas, string quartets, masses, serenades, and some minor operas. In 1775 he wrote his only violin concertos, five in all. Again, he was discontent with work in Salzburg and traveled to find more opportunity to write operas. He and his father again visited Munich and Vienna, but neither visit was successful with the exception of his opera ‘La finta giardiniera’ in Munich. In 1777 he resigned his Salzburg position and went to Augsburg, Mannheim, Paris, and Munich again. In Mannheim he met and fell in love with Aloysia Weber, one of four daughters of a musical family. He could find no real employment there and left for Paris in 1778. He might have had a position as organist at Versailles, but he was not interested in that. He fell into debt and started pawning valuables. During these events his mother died. Meanwhile his father was still trying to find him a position in Salzburg. After checking out several other European cities and Munich, he again encountered Aloysia, but she was no longer interested in him, so he returned to Salzburg, having written another symphony, concerto, and piano sonata, and took the new appointment his father had found. However, he was still in discontent. Visiting Vienna in 1781, he was dismissed from his Salzburg position. He wrote another opera, ‘Idomeneo’, in 1781, that was successful in Munich. Two months later he was summoned to Vienna, where his employer, Archbishop Colloredo, wanted him around due to his notoriety. Mozart wished to meet the emperor and perform for him, and finally got that opportunity. It resulted in a part-time position and substantial commissions. Colloredo became a nemesis to Mozart’s career, finally releasing Mozart from his employ with a literal kick in the pants, much against his father’s wishes. However, he was now independent. Mozart then decided to settle in Vienna as a free lance performer and composer. He lived with the Fridolin Weber family, who had moved from Mannheim to Vienna. Fridolin, the father, had died, and they were taking in lodgers to make ends meet. His career there went well, and he performed as a pianist before the Emperor, establishing himself as the finest keyboard player in Vienna. He wrote another opera in 1782, again achieving success. Mozart had now become a prolific and influential composer of the Classical period and was known throughout Europe. Aloysia was now married to actor, Joseph Lange, and Mozart’s interest shifted to her sister, Constanze. In 1782 he married Constanze Weber Mozart Nissen. The marriage started out with a brief separation, and there was a problem getting Mozart’s father’s permission, which finally came. They had six children, but only two survived infancy: Carl and Franz. He lived in Vienna and achieved some notoriety, composing many of his best-known symphonies, concertos, and operas. In 1782-83 he became intimately acquainted with Johann Sebastian Bach and George Friederic Handel, as his friend, Gottfried van Swieten, owned many manuscripts of the Baroque masters, which Mozart studied intently. He altered his style of composition as a result. That year Mozart and his wife visited his father and sister, and he composed a liturgical piece, a Mass, with a singing part for his wife. He also met Joseph Hadyn in Vienna in 1784 and they became friends. They even played together in a string quartet from time to time. Mozart wrote six quartets dedicated to Hadyn. In 1785 Hadyn told Leopold Mozart, “Your son is the greatest composer known to me by person and repute, he has taste, and what is more, the greatest skill in composition”. Over the next several years Mozart booked several piano concertos in various places as a sole performer to delighted audiences, making substantial remuneration for his work. He and his wife then adopted a more luxurious lifestyle. They moved to an expensive apartment and he bought a fine fortepiano and billiard table. They sent their son, Karl, to an expensive boarding school and also kept servants. In 1784 Mozart became a Freemason and even composed Masonic music. Over the next several years he did little operatic writing and focused on his career as a piano soloist and writer of concertos. He again began operatic collaboration in 1785, creating ‘The marriage of Figaro’, then ‘Don Giovanni’ in 1787. That year his father died. Also that year he obtained a steady post under Emperor Joseph II as his chamber composer. This was part-time employment that was important when hard times arrived. However, Joseph aimed at keeping Mozart from leaving Vienna for better work. The Austrio-Turkish War made life difficult for musicians, and his aristocracy support had declined. He moved to save on expenses, but that did not help much, and he was reduced to borrowing funds from his friends, and pleading for loans. During this period he produced his last three symphonies. In 1789 he then set up on a journey to Leipzig, Dresden, and Berlin hoping to improve his fortunes. In 1790 he was highly productive, producing concertos, an opera, ‘The magic flute’, a series of string quintets, a motet, and an (unfinished) Requiem. Finances began to improve and he begin paying back his debts. Public reaction to his works also brought him great satisfaction. In 1791, while in Prague for the premiere of his opera, ‘La clemenza di Tito’, he fell ill. He continued professional functions for a short time, but had to go home and be nursed by his wife over the next couple of months. He died at Vienna, Austria, at the age of 35, a small thin man with undistinguishing characteristics. He was buried in a modest grave, having had a small funeral. Beethoven composed his early works in the shadow of Mozart, and Joseph Hadyn wrote “posterity will not see such a talent (as Mozart) again in 100 years”. 600+ works. Side note: Mozart enjoyed billiards, dancing, and had a pet canary, a starling, a dog, and a horse for recreational riding. He liked off-color humor. He wore elegant clothing when performing and had a modest tenor voice. John Perry

Charles William Everest

1814 - 1877 Person Name: C. W. Everest (1814-1877) Topics: God, Saviour Growing, Teaching, Serving; Epiphany 2, Revelation The First Disciples; Lent 2, The King and the Kingdom Conflict; Lent 3, The King and the Kingdom Suffering; Lent 5, The King and the Kingdom The Victory of the Cross; Easter 4 The Charge to Peter; Pentecost 18 The Offering of Life Author of "'Take up your cross,' the Saviour said" in Hymns for Today's Church (2nd ed.) Everest, Charles William, M.A., born at East Windsor, Connecticut, May 27, 1814, graduated at Trinity College, Hartford, 1838, and took Holy Orders in 1842. He was rector at Hamden, Connecticut, from 1842 to 1873, and also agent for the Society for the Increase of the Ministry. He died at Waterbury, Connecticut, Jan. 11, 1877 (See Poets of Connecticut, 1843). In 1833 he published Visions of Death, and Other Poems; from this work his popular hymn is taken:— Take up thy cross, the Saviour said. Following Jesus. The original text of this hymn differs very materially from that which is usually found in the hymn-books. The most widely known form of the text is that in Hymns Ancient & Modern, where it appeared in 1861. It was copied by the Compilers from another collection, but by whom the alterations were made is unknown. The nearest approach to the original is in Horder's Congregational Hymn Book, 1884. Original text in Biggs's English Hymnology, 1873, p. 24. [Rev. F. M. Bird, M.A.] -- John Julian, Dictionary of Hymnology (1907)

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