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To God Be the Glory
Author: Fanny J. Crosby, 1820-1915 Meter: 11.11.11.11 with refrain Appears in 223 hymnals Topics: Transcendence First Line: To God be the glory -- great things he hath done! Refrain First Line: Praise the Lord, praise the Lord, let the earth hear his voice! Lyrics: 1 To God be the glory--great things he hath done!
So loved he the world that he gave us his Son,
Who yielded his life, an atonement for sin,
And opened the life-gate that all may go in.
Refrain:
Praise the Lord, praise the Lord, let the earth hear his voice!
Praise the Lord, praise the Lord, let the people rejoice!
O come to the Father through Jesus, the Son,
and give Him the glory--great things he hath done!
2 O perfect redemption, the purchase of blood!
To ev'ry believer, the promise of God;
The vilest offender who truly believes,
That moment from Jesus a pardon receives. [Refrain]
3 Great things he hath taught us, great things he hath done,
And great our rejoicing through Jesus the Son;
But purer and higher and greater will be
Our wonder, our transport, when Jesus we see. [Refrain] Scripture: Psalm 96:8 Used With Tune: TO GOD BE THE GLORY
To God Be the Glory
Let All Mortal Flesh Keep Silence
Author: Gerard Moultrie, 1829-1885 Meter: 8.7.8.7.8.7 Appears in 172 hymnals Topics: Transcendence Scripture: Isaiah 6:2-3 Used With Tune: PICARDY Text Sources: Liturgy of St. James 5th C.
Let All Mortal Flesh Keep Silence
Come Down, O Love Divine
Author: Bianco da Siena, d. 1434; Richard F. Littledale, 1833-1890 Meter: 6.6.11 D Appears in 109 hymnals Topics: Transcendence Scripture: John 14:15-21 Used With Tune: DOWN AMPNEY
Come Down, O Love Divine
TO GOD BE THE GLORY
Meter: 11.11.11.11 with refrain Appears in 194 hymnals Composer and/or Arranger: William H. Doane, 1832-1915 Topics: Transcendence Tune Key: A Flat Major Incipit: 55671 51252 33464 Used With Text: To God Be the Glory
TO GOD BE THE GLORY
God Is Speaking
Author: Ken Bible Hymnal: Worship and Song #3025 (2011) Meter: 4.4.3.3.6.6.3.3 Topics: Transcendence; Transcendence Scripture: Job 36:15-17 Languages: English Tune Title: FRÈRE JACQUES
God Is Speaking
Be Thou My Vision
Author: Mary E. Byrne, 1880-1391; Eleanor H. Hull, 1860-1935 Hymnal: Singing the Living Tradition #20 (1993) Meter: 10.10.9.10 Topics: Transcending Mystery and Wonder Praise and Transcendence First Line: Be thou my vision, O God of my heart Lyrics: 1 Be thou my vision, O God of my heart;
naught be all else to me, save that thou art.
Thou my best thought, by day or by night,
waking or sleeping, thy presence my light.
2 Be thou my wisdom, and thou my true word;
I ever with thee and thou with me God;
thou my soul’s shelter, thou my high tower.
raise thou me heavenward, O Power of my power.
3 Riches I heed not, nor world's empty praise,
thou my inheritance, now and always;
thou and thou only, first in my heart,
Sov'reign of heaven, my treasure thou art.
Languages: English Tune Title: SLANE
Be Thou My Vision
For the Beauty of the Earth
Author: Folliott Sandford Pierpoint, 18365-1917 Hymnal: Singing the Living Tradition #21 (1993) Meter: 7.7.7.7.7.7 Topics: Transcending Mystery and Wonder Praise and Transcendence Lyrics: 1 For the beauty of the earth,
for the splendor of the skies,
for the love which from our birth
over and around us lies:
Source of all, to thee we raise
this, our hymn of grateful praise.
2 For the joy of ear and eye,
for the heart and mind's delight,
for the mystic harmony
linking sense to sound and sight:
Source of all, to thee we raise
this, our hymn of grateful praise.
3 For the wonder of each hour
of the day and of the night,
hill and vale and tree and flower,
sun and moon and stars of light:
Source of all, to thee we raise
this, our hymn of grateful praise.
4 For the joy of human care,
sister, brother, parent, child,
for the kinship we all share,
for all gentle thoughts and mild:
Source of all, to thee we raise
this, our hymn of grateful praise. Languages: English Tune Title: DIX
For the Beauty of the Earth
Henry Van Dyke
1852 - 1933 Person Name: Henry Van Dyke, 1852-1933 Topics: Transcending Mystery and Wonder Praise and Transcendence Author of "Joyful, Joyful, We Adore Thee" in Singing the Living Tradition
See biography and works at CCEL
Henry Van Dyke
Ludwig van Beethoven
1770 - 1827 Person Name: Ludwig van Beethoven, 1770-1827 Topics: Transcending Mystery and Wonder Praise and Transcendence Composer of "HYMN TO JOY" in Singing the Living Tradition A giant in the history of music, Ludwig van Beethoven (b. Bonn, Germany, 1770; d. Vienna, Austria, 1827) progressed from early musical promise to worldwide, lasting fame. By the age of fourteen he was an accomplished viola and organ player, but he became famous primarily because of his compositions, including nine symphonies, eleven overtures, thirty piano sonatas, sixteen string quartets, the Mass in C, and the Missa Solemnis. He wrote no music for congregational use, but various arrangers adapted some of his musical themes as hymn tunes; the most famous of these is ODE TO JOY from the Ninth Symphony. Although it would appear that the great calamity of Beethoven's life was his loss of hearing, which turned to total deafness during the last decade of his life, he composed his greatest works during this period.
Bert Polman
Ludwig van Beethoven
Johann Crüger
1598 - 1662 Person Name: Johann Crüger, 1598-1662 Topics: Transcending Mystery and Wonder Praise and Transcendence Composer of "NUN DANKET ALLE GOTT" in Singing the Living Tradition Johann Crüger (b. Grossbriesen, near Guben, Prussia, Germany, 1598; d. Berlin, Germany, 1662) Crüger attended the Jesuit College at Olmutz and the Poets' School in Regensburg, and later studied theology at the University of Wittenberg. He moved to Berlin in 1615, where he published music for the rest of his life. In 1622 he became the Lutheran cantor at the St. Nicholas Church and a teacher for the Gray Cloister. He wrote music instruction manuals, the best known of which is Synopsis musica (1630), and tirelessly promoted congregational singing. With his tunes he often included elaborate accompaniment for various instruments. Crüger's hymn collection, Neues vollkomliches Gesangbuch (1640), was one of the first hymnals to include figured bass accompaniment (musical shorthand) with the chorale melody rather than full harmonization written out. It included eighteen of Crüger's tunes. His next publication, Praxis Pietatis Melica (1644), is considered one of the most important collections of German hymnody in the seventeenth century. It was reprinted forty-four times in the following hundred years. Another of his publications, Geistliche Kirchen Melodien (1649), is a collection arranged for four voices, two descanting instruments, and keyboard and bass accompaniment. Crüger also published a complete psalter, Psalmodia sacra (1657), which included the Lobwasser translation set to all the Genevan tunes.
Bert Polman
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Crüger, Johann, was born April 9, 1598, at Gross-Breese, near Guben, Brandenburg. After passing through the schools at Guben, Sorau and Breslau, the Jesuit College at Olmütz, and the Poets' school at Regensburg, he made a tour in Austria, and, in 1615, settled at Berlin. There, save for a short residence at the University of Wittenberg, in 1620, he employed himself as a private tutor till 1622. In 1622 he was appointed Cantor of St. Nicholas's Church at Berlin, and also one of the masters of the Greyfriars Gymnasium. He died at Berlin Feb. 23, 1662. Crüger wrote no hymns, although in some American hymnals he appears as "Johann Krüger, 1610,” as the author of the supposed original of C. Wesley's "Hearts of stone relent, relent" (q.v.). He was one of the most distinguished musicians of his time. Of his hymn tunes, which are generally noble and simple in style, some 20 are still in use, the best known probably being that to "Nun danket alle Gott" (q.v.), which is set to No. 379 in Hymns Ancient & Modern, ed. 1875. His claim to notice in this work is as editor and contributor to several of the most important German hymnological works of the 16th century, and these are most conveniently treated of under his name. (The principal authorities on his works are Dr. J. F. Bachmann's Zur Geschichte der Berliner Gesangbücher 1857; his Vortrag on P. Gerhard, 1863; and his edition of Gerhardt's Geistliche Lieder, 1866. Besides these there are the notices in Bode, and in R. Eitner's Monatshefte für Musik-Geschichte, 1873 and 1880). These works are:—
1. Newes vollkömmliches Gesangbuch, Augspur-gischer Confession, &c, Berlin, 1640 [Library of St. Nicholas's Church, Berlin], with 248 hymns, very few being published for the first time.
2. Praxis pietatis melica. Das ist: Ubung der Gottseligkeit in Christlichen und trostreichen Gesängen. The history of this, the most important work of the century, is still obscure. The 1st edition has been variously dated 1640 and 1644, while Crüger, in the preface to No. 3, says that the 3rd edition appeared in 1648. A considerable correspondence with German collectors and librarians has failed to bring to light any of the editions which Koch, iv. 102, 103, quotes as 1644, 1647, 1649, 1650, 1651, 1652, 1653. The imperfect edition noted below as probably that of 1648 is the earliest Berlin edition we have been able to find. The imperfect edition, probably ix. of 1659, formerly in the hands of Dr. Schneider of Schleswig [see Mützell, 1858, No. 264] was inaccessible. The earliest perfect Berlin edition we have found is 1653.
The edition printed at Frankfurt in 1656 by Caspar Röteln was probably a reprint of a Berlin edition, c. 1656. The editions printed at Frankfurt-am-Main by B. C. Wust (of which the 1666 is in the preface described as the 3rd) are in considerable measure independent works.
In the forty-five Berlin and over a dozen Frankfurt editions of this work many of the hymns of P. Gerhardt, J. Franck, P. J. Spener, and others, appear for the first time, and therein also appear many of the best melodies of the period.
3. Geistliche Kirchen-Melodien, &c, Leipzig, 1649 [Library of St. Katherine's Church, Brandenburg]. This contains the first stanzas only of 161 hymns, with music in four vocal and two instrumental parts. It is the earliest source of the first stanzas of various hymns by Gerhardt, Franck, &c.
4. D. M. Luther's und anderer vornehmen geisU reichen und gelehrten Manner Geistliche Lieder und Psalmen, &c, Berlin, 1653 [Hamburg Town Library], with 375 hymns. This was edited by C. Runge, the publisher, and to it Crüger contributed some 37 melodies. It was prepared at the request of Luise Henriette (q.v.), as a book for the joint use of the Lutherans and the Re¬formed, and is the earliest source of the hymns ascribed to her, and of the complete versions of many hymns by Gerhardt and Franck.
5. Psalmodia Sacra, &c, Berlin, 1658 [Royal Library, Berlin]. The first section of this work is in an ed. of A. Lobwasser's German Psalter; the second, with a similar title to No. 4, and the date 1657, is practically a recast of No. 4,146 of those in 1653 being omitted, and the rest of the 319 hymns principally taken from the Praxis of 1656 and the hymn-books of the Bohemian Brethren. New eds. appeared in 1676, 1700, 1704, 1711, and 1736.
[Rev. James Mearns, M.A.]
-- Excerpt from John Julian, Dictionary of Hymnology (1907)
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Crüger, Johann, p. 271, ii. Dr. J. Zahn, now of Neuendettelsau, in Bavaria, has recently acquired a copy of the 5th ed., Berlin, 1653, of the Praxis.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
Johann Crüger
