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Prayerful Desire
Meter: 8.8.8.8 Appears in 13 hymnals Topics: Morning Psalms First Line: O Lord, make haste to hear my cry Lyrics: 1 O Lord, make haste to hear my cry,
To Thee I call, on Thee rely.
Incline to me a gracious ear,
And when I call, in mercy hear.
2 When in the morning unto Thee
I lift my voice and bring my plea,
Then let my prayer as incense rise
To God enthroned above the skies.
3 When unto Thee I look and pray
With lifted hands at close of day,
Then as the evening sacrifice
Let my request accepted rise.
4 Guard Thou my thoughts, I Thee implore,
And of my lips O keep Thou the door;
Nor leave my sinful heart to stray
Where evil footsteps lead the way.
5 O righteous God, Thy chastisement,
Though sent thro' foes, in love is sent;
Though grievous it will profit me,
A healing ointment it shall be.
6 While wickedness my foes devise,
To Thee my constant prayer shall rise;
When their injustice is o'erthrown
Mu gentleness shall still be shown.
7 Brought nigh to death and sore distressed,
O Lord, my God, in Thee I rest;
Forsake me not, I look to Thee,
Let me Thy great salvation see.
8 Themselves entangled in their snare,
Their own defeat my foes prepare;
O keep me, Lord, for let me fall,
Protect and lead me safe through all. Scripture: Psalm 141 Used With Tune: HESPERUS
Prayerful Desire
은 땅 의 모 든 사 림 들 (All People That on Earth Do Dwell)
Author: William Kethe Meter: 8.8.8.8 Appears in 721 hymnals Topics: 기 쁨; 시 편; 아침; 예 배 시 작; 하 나 님; Adoration and Praise; Creation; God; Joy; Mercy; Morning; Nature; Opening Hymns; Psalms; 경배와 찬양; 창조; 자비; 자연; 개 회 찬송 Scripture: Psalm 100 Used With Tune: OLD 100TH Text Sources: Korean trans. The United Methodist Korean Hymnal Committee
은 땅 의 모 든 사 림 들 (All People That on Earth Do Dwell)
Prayer and Protection
Meter: 7.7.7.7 Appears in 24 hymnals Topics: Morning Psalms First Line: O Jehovah, hear my words Lyrics: 1 O Jehovah, hear my words,
To my tho'ts attentive be;
Hear my cry, my King, my God,
I will make my prayer to Thee.
2 With the morning light, O Lord,
Thou shalt hear my voice arise,
And expectant I will bring
Prayer as morning sacrifice.
3 O let all that trust thy care
Ever glad and joyful be;
Let them joy who love Thy Name,
Safely guarded, Lord, by Thee.
4 For a blessing from Thy store
To the righteous Thou wilt yield;
Thou wilt compass him about
With thy favor as a shield. Scripture: Psalm 5 Used With Tune: REDHEAD
Prayer and Protection
THIS IS THE DAY
Meter: Irregular Appears in 45 hymnals Composer and/or Arranger: Les Garrett Topics: Morning; Psalm Paraphrases; Year A Easter; Year A Pentecost; Year B Palm Sunday; Year B Easter; Year B Pentecost; Year C Palm Sunday; Year C Easter Tune Key: E Flat Major Incipit: 11231 12334 3223 Used With Text: This Is the Day
THIS IS THE DAY
Psalm 63: My Soul Is Thirsting (As Morning Breaks)
Author: Steve Angrisano, b. 1965 Hymnal: Journeysongs (3rd ed.) #52 (2012) Topics: Morning Prayer Morning Psalms, Canticles First Line: O God, you are my God Refrain First Line: My soul is thirsting for you, O Lord (As morning breaks I look to you) Scripture: Psalm 63:2 Languages: English Tune Title: [O God, you are my God]
Psalm 63: My Soul Is Thirsting (As Morning Breaks)
Psalm 63: My Soul Is Thirsting (As Morning Breaks)
Hymnal: Journeysongs (3rd ed.) #54 (2012) Topics: Morning Prayer Morning Psalms, Canticles First Line: O God, you are my God whom I seek Refrain First Line: My soul thirsts, O God (As morning breaks, O God) Scripture: Psalm 63:2-9 Languages: English Tune Title: [O God, you are my God whom I seek]
Psalm 63: My Soul Is Thirsting (As Morning Breaks)
Psalm 63: My Soul Is Thirsting (As Morning Breaks)
Author: Steve Angrisano, b. 1965 Hymnal: Glory and Praise (3rd. ed.) #156 (2015) Topics: Morning Prayer Morning Psalms, Canticles First Line: O God, you are my God Refrain First Line: My soul is thirsting for you, O Lord (As morning breaks I look to you) Scripture: Psalm 63:2 Languages: English Tune Title: [O God, you are my God]
Psalm 63: My Soul Is Thirsting (As Morning Breaks)
Wolfgang Amadeus Mozart
1756 - 1791 Person Name: Mozart Topics: Morning Psalms Composer of "ELLESDIE" in The Psalter 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
Wolfgang Amadeus Mozart
Louis Bourgeois
1510 - 1561 Person Name: Louis Bourgeois, c.1510-1561 Topics: Evening Prayer Morning Psalms, Canticles Composer of "OLD HUNDREDTH" in Journeysongs (3rd ed.) 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
Rabanus Maurus
776 - 856 Person Name: Rabanus Maurus, 776-856 Topics: Evening Prayer Morning Psalms, Canticles Author (attributed to) of "Come, Holy Ghost" in Journeysongs (3rd ed.) Rabanus Maurus (c. 776-856) or Hrabanus Magnentius Maurus, was born of noble parents at Mainz, and educated at Fulda and Tours under Alcuin, who is reputed to have given him the surname, Maurus, after the saint of that name. In 803, he became director of the school at the Benedictine Abbey at Fulda. He was ordained priest in 814, spending the following years in a pilgrimage to Palestine. In 822, he became Abbott at Fulda, retiring in 842. In 847, he became archbishop of Mainz. He died at Winkel on the Rhine, February 4, 856. This distinguished Carolingian poet-theologian wrote extensive biblical commentaries, the Encyclopaedic De Universo, De Institutione Clericorum, and other works which circulated widely during the Middle Ages. Some of his poems, with English translations, are in Helen Waddell's Mediaeval Latin Lyrics. He is the author of:
O Come, Creator Spirit, come
Christ, the fair glory of the holy angels
Come, Holy Ghost, our souls inspire
Come, Holy Ghost, Creator blest
Creator Spirit, by whose aid
--The Hymnal 1940 Companion, New York: The Church Pension Fund (1949)
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Hrabanus (Rabanus) Maurus, son of one Ruthard, was born probably at Mainz, about 776. At an early age he was sent to the Monastery of Fulda to receive a religious education. In 801 he was ordained Deacon, and the following year he went to the monastic school of St. Martin at Tours to study under Alcuin, a celebrated teacher of that time, who gave to Hrabanus the name of Maurus to which Hrabanus added Magnentius. On his return to Fulda in 804 he became the head of the school connected with the Monastery. Towards him Ratgar the abbot showed great unkindness, which arose mainly from the fact that Ratgar demanded the students to build additions to the monastery, whilst Hrabanus required them at the same time for study. Hrabanus had to retire for a season, but Ratgar's deposition by Ludwig the Pious, in 817, opened up the way for his return, and the reopening of the school In the meantime, in 814, he had been raised to the Priesthood. Egil, who succeeded Ratgar as abbot, died in 822, and Hrabanus was appointed in his stead. This post he held for some time, until driven forth by some of the community. In 847, on the death of Archbishop Otgar, Ludwig the younger, with whom Hrabanus had sided in his demand for German independence as against the imperialism of his elder brother Lothar, rewarded him with the Archbishopric of Mainz, then the metropolitan see of Germany. He held this appointment to his death on Feb. 4, 856. He was buried first in St. Alban's, Mainz, and then, during the early days of the Reformation, in St. Maurice, Halle, possibly because of the opposition he is known to have made to the doctrine of Transubstantiation.
With German historians Hrabanus is regarded as the father of the modern system of education in that country. His prose works were somewhat numerous, but the hymns with which his name is associated are few. We have the "Christe sanctorum decus Angelorum”; “Tibi Christe, splendor Patris”; and the "Veni Creator Spiritus”; but recent research convinces us that the ascription in each case is very doubtful; and none are received as by Hrabanus in Professor Dümmler's edition of the Carmina of Hrabanus in the Poetae Latini aevi Carolini, vol. ii. 1884. Dümmler omits them even from the "hymns of uncertain origin."
--John Julian, Dictionary of Hymnology, Appendix I (1907)
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http://en.wikipedia.org/wiki/Rabanus_Maurus
Rabanus Maurus
