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Grato es contar la historia
Author: Katherine Hankey; Juan Bautista Cabrera Appears in 32 hymnals Topics: Jesucristo redentor Alabanza y graditud; Jesucristo Amor a Refrain First Line: ¡Qué bella es esa historia! Used With Tune: HANKEY
Grato es contar la historia
La cruz excelsa al contemplar
Author: Isaac Watts Meter: 8.8.8.8 Appears in 18 hymnals Topics: Jesucristo Redentor Cuaresma; Jesucristo Cruz; Jesucristo Sacrificio Scripture: Galatians 6:14 Used With Tune: HAMBURG Text Sources: Trad.: El Abogado Cristiano Ilustrado
La cruz excelsa al contemplar
Alleluia! Sing to Jesus (¡Aleluya! Gloria a Cristo)
Author: William C. Dix, 1837-1898; Lorenzo Álvarez, 1897-1969; Esteban Sywulka B. Meter: 8.7.8.7 D Appears in 215 hymnals Topics: Solemnidades del Señor Jesucristo, Rey del Universo; Jesucristo First Line: Alleluia! Sing to Jesus! (¡Aleluya! Gloria a Cristo) Scripture: Matthew 28:18-20 Used With Tune: HYFRYDOL
Alleluia! Sing to Jesus (¡Aleluya! Gloria a Cristo)
DUKE STREET
Meter: 8.8.8.8 Appears in 1,443 hymnals Composer and/or Arranger: John Hatton, c. 1710-1793 Topics: Jesucristo Tune Key: D Major Incipit: 13456 71765 55565 Used With Text: I Know That My Redeemer Lives! (Yo Sé Vive el Salvador)
DUKE STREET
MORNING SONG
Meter: 8.6.8.6 Appears in 170 hymnals Composer and/or Arranger: Robert J. Batastini, b. 1942 Topics: Solemnidades del Señor Jesucristo, Rey del Universo Tune Sources: J. Wyeth's Repository of Sacred Music, 1813, alt. Tune Key: f minor Incipit: 51234 32175 51234 Used With Text: The King Shall Come When Morning Dawns (El Rey Vendrá al Amanecer)
MORNING SONG
Jesus Christ, Yesterday, Today, and Forever (Jesucristo Ayer, Jesucristo Hoy)
Author: Suzanne Toolan, RSM, b. 1927; Ronald F. Krisman, b. 1946 Hymnal: Oramos Cantando = We Pray In Song #674 (2013) Topics: Jesucristo First Line: Jesus Christ, Jesus Christ (Jesucristo ayer, Jesucristo hoy) Scripture: John 14:6 Languages: English; Spanish Tune Title: [Jesus Christ, Jesus Christ]
Jesus Christ, Yesterday, Today, and Forever (Jesucristo Ayer, Jesucristo Hoy)
Es Jesucristo la vida, la luz
Author: Pedro Grado (1862-1923) Hymnal: Himnario Adventista del Séptimo Día #121 (2010) Topics: Jesucristo Amor de Cristo Refrain First Line: Cristo es Pastor, Enviado Scripture: John 1:4 Languages: Spanish Tune Title: [Es Jesucristo la vida, la luz]
Es Jesucristo la vida, la luz
En Jesucristo, mártir de paz
Author: Fanny J. Crosby; E. A. Montfort Díaz Hymnal: Mil Voces para Celebrar #65 (1996) Topics: Jesucristo redentor Alabanza y graditud; Jesucristo Amor de Refrain First Line: Gloria cantemos al Redentor Languages: Spanish Tune Title: ASSURANCE
En Jesucristo, mártir de paz
John Goss
1800 - 1880 Person Name: John Goss, 1800-1880 Topics: Solemnidades del Señor Jesucristo, Rey del Universo Composer of "LAUDA ANIMA" in Oramos Cantando = We Pray In Song John Goss (b. Fareham, Hampshire, England, 1800; d. London, England, 1880). As a boy Goss was a chorister at the Chapel Royal and later sang in the opera chorus of the Covent Garden Theater. He was a professor of music at the Royal Academy of Music (1827-1874) and organist of St. Paul Cathedral, London (1838-1872); in both positions he exerted significant influence on the reform of British cathedral music. Goss published Parochial Psalmody (1826) and Chants, Ancient and Modern (1841); he edited William Mercer's Church Psalter and Hymn Book (1854). With James Turle he published a two-volume collection of anthems and Anglican service music (1854).
Bert Polman
John Goss
Thomas Moore
1779 - 1852 Person Name: Thomas Moore, 1779-1852 Topics: Jesucristo Pan de Vida, Pan Vivo Author (sts. 1, 2) of "Come, Ye Disconsolate (Vengan con su dolor, desconsolados)" in Santo, Santo, Santo Thomas Moore United Kingdom 1779-1852. Born at Dublin, Ireland, the son of a grocer, he showed an early interest in music and acting. He was educated at a private school and Trinity College, Dublin. He read at the Middle Temple for the Bar. Moore did not profess religious piety. His translations of ‘Anacreon’ (celebrating wine, women, and song) were published in 1800, with a dedication to the Prince of Wales. He also wrote a comic opera, “the gypsy prince”, staged that year. In 1801 he published a collection of his own verse, “Poetical works of the late Thomas Little Esq”. A Catholic patriot, he defended the Church of Ireland, especially in later politics. In 1803 he held a post under the Government in Bermuda as registrar of the Admiralty Prize Court. He was bored of it within six months and appointed a deputy to take his place while he left for a tour of North America. He secured high society introductions and even met with President, Thomas Jefferson. Returning to England in 1804, he published “Epistles, Odes, & other poems” in 1806. Moore criticized American slavery and was accused of licentious writings, veiled as refinement. Francis Jeffrey denounced Moore’s writings in the ‘Edinburgh Review’, and Moore challenged him to a duel, but it never happened, and they became friends. Between 1808-1810 he was found acting in various plays, favoring comic roles. He met the sister of one of the actresses and, in 1811, they married. Elizabeth ‘Bessy’ Dyke, was an actress. She had no dowry, and Moore kept their marriage secret from his parents for some time, as his wife was Protestant. Bessie shrank from fashionable society, but those who met her held her in high regard. They had five children, but none survived to adulthood. Three girls died young, and both sons lost their lives as young men. One son, Tom, died in some disgrace in the French Foreign Legion in Algeria. Despite these losses, their marriage was said to be a happy one. He also had political trouble. The man he appointed as his replacement in Bermuda was found to have embezzled 6000 pounds sterling, a large sum, for which Moore was liable. He left for France in 1819 to escape debtor’s prison. He also met Lord Byron in Venice and was entrusted with a manuscript of his memoirs, which he promised to have published after Byron’s death. Moore’s wife and children joined him in Paris, where he learned that some of the debt was repaid with help from Lord Lansdowne, whom Moore had given a draft of money from payment by his publisher. The family returned to England a year later. To support his family Moore entered the field of ‘squib writing’ on behalf of his Whig friends. This resulted in years of political debate about Catholics and Protestants in government. Nearly persuaded to forego his Catholic allegiance in favor of Protestantism, he finally concluded that Protestants did not make a sound case for their faith, as they denounced Catholics so vociferously for erroneous teaching. From 1835 -1846 Moore published a four volume “History of Ireland”, which was basically an indictment of English rule over Ireland. He was primarily a writer, poet, entertainer, and composer, considered politically as a writer for the aristocratic Whigs. His “Sacred songs” (32) were published in 1816, and again, in his “collected works” in 1866. His “Memoirs, Journal, and Correspondence” were published by Lord John Russell in 1855. Moore is essentially remembered for his highly-praised lyrics written for Irish melodies, as requested by his publishers, and his memoirs of Lord Byron, his friend. He died at Bromham, Wilshire, England.
John Perry
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Moore, Thomas, son of John Moore, a small tradesman at Dublin, was born in that city, May 28, 1779, educated at a private school and Trinity College, Dublin; read at the Middle Temple for the Bar; held a post under the Government in Bermuda for a short time, and died Feb. 26, 1852. His Memoirs, Journal, and Correspondence were published by Lord John Russell in 1855. In that work every detail concerning himself and his numerous publications, most of them of high poetical merit, will be found. His connection with hymnody is confined to his Sacred Songs, which were published in 1816, and again in his Collected Works, 1866. These Songs were 32 in all, and were written to popular airs of various nations. Of these Songs the following have passed into a few hymnbooks, mainly in America:—
1. As down in the sunless retreats of the ocean. Private Prayer.
2. But who shall see the glorious day. The Final Bliss of Man.
3. Come, ye disconsolate, where'er you languish. Belief in Prayer. In American hymnbooks the text is sometimes as in T. Hastings and Lowell Mason's Spiritual Songs, 1831. This may be distinguished from the original by the third stanza, which reads, "Here see the Bread of life; see waters flowing," &c.
4. Fallen is thy throne, O Israel. Israel in Exile.
5. Like morning when her early breeze. Power of Divine Grace.
6. O Thou Who driest the mourner's tear. Lent.
7. Since first Thy word [grace] awaked my heart. God All and in All.
8. Sound the loud timbrel o'er Egypt's dark sea. Deliverance of Israel.
9. The bird [dove] let loose in eastern skies. Prayer for Constancy.
10. The turf shall be my fragrant shrine. The Temple of Nature. From this "There's nothing bright above, below" is taken.
11. Thou art, O God, the Life and Light. God, the Light and Life of Men.
12. Were not the sinful Mary's tears? Lent.
Of these hymns No. 11 has attained the greatest popularity.
--John Julian, Dictionary of Hymnology (1907)
Thomas Moore
Raquel Mora Martínez
b. 1940 Person Name: Raquel M. Martínez Topics: Jesucristo Redentor Providencia Translator of "En el regazo de Dios (Near to the Heart of God)" in Fiesta Jubilosa Raquel Martinez (b. January 17, 1940) is a well-known composer and arranger of Hispanic songs and hymns. She has degrees from the University of Texas at El Paso and Perkins School of Theology and the School of the Arts, Southern Methodist University. She served as editor of the official United Methodist hymnal, Mil Voces Para Celebrar (Nashville: Abingdon Press, 1996).
--www.gbod.org/lead-your-church/hymn-studies/
Raquel Mora Martínez
