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Choral Evensong the 18Th Sunday After Trinity
ST EDMUND HALL Choral Evensong The 18th Sunday after Trinity Speaker: The Revd Anthony Buckley Being oneself, changing the world 11 October 2020 6.30 pm What is Evensong? Evensong is one of the Church of England’s ancient services. It provides an open and generous space for quiet and reflection, for song and speech and prayer, as it draws from biblical readings, canticles, and the Church’s long tradition of hymns. All are welcome. Many have said, “Prayer is the key to the day and the lock to the night.” In the Anglican tradition, daily prayer is set at morning and evening for precisely this purpose: to give the opportunity to greet each new day as a divine gift and to prepare our hearts and minds for rest each night. It is founded in a sense of gratitude and wonder, and centred on the faith of Jesus Christ. We invite everyone to join in, as they are able, by listening attentively to the choir, readers, and ministers, and by saying together with us those prayers that are marked in bold: the Lord’s Prayer, the Grace, and the Amens. This year, we are meeting in many locations, not just in the Chapel. Space is primarily limited to the choir, readers, and speaker, but contact the chaplain to enquire about seating. Those who cannot join us in person may do so by Zoom at: https://us02web.zoom.us/j/87112377996?pwd=bm9zMWZreEl4M1RiK2to OXNvNW9aZz09 Please join us for drinks after the service. Speaker Our speaker this evening is the Revd Anthony Buckley, Vicar of St Michael at the North Gate. -
Choral Evensong with Carols
THE CATHEDRAL AND METROPOLITICAL CHURCH OF CHRIST, CANTERBURY Choral Evensong with Carols Christmas Eve Thursday 24th December 2020 5.30pm Welcome to Canterbury Cathedral for this Service For your safety Please keep social distance at all times Please stay in your seat as much as possible Please use hand sanitiser on the way in and out Please avoid touching your face and touching surfaces Cover Image: The Nativity (Christopher Whall) South West Transept, Canterbury Cathedral Transept As part of our commitment to the care of the environment in our world, this Order of Service is printed on unbleached 100% recycled paper Please ensure that mobile phones are switched off. No form of visual or sound recording, or any form of photography, is permitted during Services. Thank you for your co-operation. An induction loop system for the hard of hearing is installed in the Cathedral. Hearing aid users should adjust their aid to T. Large print orders of service are available from the stewards and virgers. Please ask. Some material included in this service is copyright: © The Archbishops' Council 2000 © The Crown/Cambridge University Press: The Book of Common Prayer (1662) Hymns and songs reproduced under CCLI number: 1031280 Produced by the Music & Liturgy Department: [email protected] 01227 865281 www.canterbury-cathedral.org ORDER OF SERVICE All stand as the choir and clergy enter the Nave Welcome The Dean Please remain standing Introit O little one sweet, O little one sweet, O little one mild, O little one mild, thy Father’s purpose thou hast fulfilled; with joy thou hast the whole world filled; thou cam’st from heav’n to mortal ken thou camest here from heaven’s domain equal to be with us poor men, to bring men comfort in their pain, O little one sweet, O little one sweet, O little one mild. -
ALH Online Review, Series XIX 1 Christopher N. Phillips, the Hymnal
ALH Online Review, Series XIX 1 Christopher N. Phillips, The Hymnal: A Reading History (Baltimore: Johns Hopkins University Press, 2018), 252 pp. Reviewed by Paul C. Gutjahr, Indiana University For anyone familiar with the original novel, watching Michael Mann’s popular 1992 motion picture adaptation of James Fenimore Cooper’s The Last of the Mohicans starring Daniel Day-Lewis becomes an exercise in absence, for Mann deletes from his movie the sometimes comic, sometimes heroic figure of the psalm-singing David Gamut. Thinking of David Gamut in relation to Christopher Phillips’s new book, The Hymnal: A Reading History, is instructive for two reasons. It underscores Phillips’s point that the singing of psalms and hymns was ubiquitous in early American culture, and it also points to the fact that attention to the importance and ubiquity of such singing (and printing) has been as absent from scholarly discussions of the era as the figure of David Gamut is in Mann’s film. Phillips has done a great service to those interested in the areas of American poetry, book history, and lived religion in his meticulously researched, broad-reaching study. Following in the footsteps of book historians like Michael Cohen and Anthony Grafton, Phillips is interested in the “social lives” of hymnbooks. He studies them not only as carrier of texts and traditions but as an important “part of the everyday social practices of hundreds of thousands of English-speakers across two centuries” (ix). More importantly, through a systematic study of the use, first, of psalms and then the more elastically biblical poetic musical form of Scripture and scriptural truths commonly known as hymns, Phillips goes a great distance in showing just how pervasive and important hymns, and their books, were in the development of early American print culture more generally. -
CHORAL EVENSONG World Without End
Then shall the earth bring forth her increase: and God, even our own God, shall give us his blessing. God shall bless us: and all the ends of the world shall fear him. Glory be to the Father, and to the Son: and to the Holy Ghost; As it was in the beginning, is now, and ever shall be: CHORAL EVENSONG world without end. Amen. Tuesday 29 May 2018 The FIRST LESSON is read Exodus 2: 11–end (NRSV p. 47) Welcome to this service of Choral Evensong All stand for the MAGNIFICAT sung by The Choir of Trinity College Cambridge Tonus peregrinus Plainsong Please ensure that all electronic devices, My soul doth magnify the Lord, and my spirit hath rejoiced including cameras, are switched off in God my Saviour. For he hath regarded the lowliness of his handmaiden. For behold, from henceforth all generations VOLUNTARY shall call me blessed. For he that is mighty hath magnified me: and holy is his Name. And his mercy is on them that Flûtes, Op. 91/4 Langlais fear him throughout all generations. He hath shewed strength with his arm; he hath scattered the proud in the INTROIT sung from the Ante-Chapel imagination of their hearts. He hath put down the mighty Benedicta sit from their seat, and hath exalted the humble and meek. Blessed be the Holy Trinity and the undivided Unity: He hath filled the hungry with good things; and the rich we will praise and glorify him, because he hath showed he hath sent empty away. He remembering his mercy hath his mercy upon us. -
Hymnody of Eastern Pennsylvania German Mennonite Communities: Notenbüchlein (Manuscript Songbooks) from 1780 to 1835
HYMNODY OF EASTERN PENNSYLVANIA GERMAN MENNONITE COMMUNITIES: NOTENBÜCHLEIN (MANUSCRIPT SONGBOOKS) FROM 1780 TO 1835 by Suzanne E. Gross Dissertation submitted to the Faculty of the Graduate School of The University of Maryland in partial fulfillment of the requirements for the degree of Doctor of Philosophy 1994 Advisory Committee: Professor Howard Serwer, Chairman/Advisor Professor Carol Robertson Professor Richard Wexler Professor Laura Youens Professor Hasia Diner ABSTRACT Title of Dissertation: HYMNODY OF EASTERN PENNSYLVANIA GERMAN MENNONITE COMMUNITIES: NOTENBÜCHLEIN (MANUSCRIPT SONGBOOKS) FROM 1780 TO 1835 Suzanne E. Gross, Doctor of Philosophy, 1994 Dissertation directed by: Dr. Howard Serwer, Professor of Music, Musicology Department, University of Maryland, College Park, Maryland As part of an effort to maintain their German culture, the late eighteenth-century Mennonites of Eastern Pennsylvania instituted hymn-singing instruction in the elementary community schoolhouse curriculum. Beginning in 1780 (or perhaps earlier), much of the hymn-tune repertoire, previously an oral tradition, was recorded in musical notation in manuscript songbooks (Notenbüchlein) compiled by local schoolmasters in Mennonite communities north of Philadelphia. The practice of giving manuscript songbooks to diligent singing students continued until 1835 or later. These manuscript songbooks are the only extant clue to the hymn repertoire and performance practice of these Mennonite communities at the turn of the nineteenth century. By identifying the tunes that recur most frequently, one can determine the core repertoire of the Franconia Mennonites at this time, a repertoire that, on balance, is strongly pietistic in nature. Musically, the Notenbüchlein document the shift that occured when these Mennonite communities incorporated written transmission into their oral tradition. -
The Joy of Christmas.Indd
San Francisco Lyric Chorus Robert Gurney, Music Director Board of Directors Helene Whitson, President Elizabeth Baldridge, Director Peter Dillinger, Vice President Jim Bishop, Director Karen Stella, Secretary Kristin Schultz Oliver, Director Bill Whitson, Treasurer Welcome to the Fall 2012 Concert of the San Francisco Lyric Chorus. Since its formation in 1995, the Chorus has offered diverse and innovative music to the community through a gathering of singers who believe in a commonality of spirit and sharing. The début concert featured music by Gabriel Fauré and Louis Vierne. The Chorus has been involved in several premieres, including Bay Area composer Brad Osness’ Lamentations, Ohio composer Robert Witt’s Four Motets to the Blessed Virgin Mary (West Coast premiere), New York composer William Hawley’s The Snow That Never Drifts (San Francisco premiere), San Francisco composer Kirke Mechem’s Christmas the Morn, Blessed Are They, To Music (San Francisco premieres), and selections from his operas, John Brown and The Newport Rivals, our 10th Anniversary Commission work, the World Premiere of Illinois composer Lee R. Kesselman’s This Grand Show Is Eternal, Robert Train Adams’ It Will Be Summer—Eventually and Music Expresses (West Coast premieres), as well as the Fall 2009 World Premiere of Dr. Adams’ Christmas Fantasy. And now, join us as we celebrate the holidays with wonderful music for voice and harp! Please sign our mailing list, located in the foyer. The San Francisco Lyric Chorus is a member of Chorus America. We are recording this concert for archival purposes Please turn off all cell phones, pagers, and other electronic devices before the concert Please, no photography or audio/video taping during the performance Please, no children under 5 Please help us to maintain a distraction-free environment. -
Seventh Sunday After Pentecost
Seventh Sunday after Pentecost Holy Eucharist July 11th, 2021 10:00AM Service The Gathering Organ Voluntary Ceremonial Suite for Organ, No 2, Aria Music: Carson Cooman (b. 1982 ) Welcome Abel E. Lopez, Rector Prayer of Meditation The Rev. Jim Lee Imaginative God, creator of all that is, inspire us who are overwhelmed by the complexities of life. Send through us the great rushing wind of your spirit to stir our hopes and breathe into us new life. Rekindle in us the flame of your spirit, that with energy and enthusiasm we may rise to meet the challenges of our life, and work to bring heaven on earth, today and every day of our lives. Amen. All stand and sing, as able. Hymn in Procession The Hymnal 1982 #365 Come, Thou Almighty King Opening Acclamation Abel E. Lopez, Rector Priest Blessed be God: Father, Son, and Holy Spirit. People And blessed be God’s kingdom, now and for ever. Amen. Remain standing. Collect for Purity All together. Almighty God, to you all hearts are open, all desires known, and from you no secrets are hid: Cleanse the thoughts of our hearts by the inspiration of your Holy Spirit, that we may perfectly love you, and worthily magnify your holy Name; through Christ our Lord. Amen. 2 All sing, remain standing, as able. Song of Praise The Hymnal 1982 #S-236 (found in very front of hymnal) Glory to you, Lord God of our fathers; you are worthy of praise; glory to you. Glory to you for the radiance of your holy Name; we will praise you and highly exalt you for ever. -
Wexford Carol 1
q = 64 Wexford Carol 1. Good peo - ple all, this Christ-mas- time, con - si - der well and 2. The night be - fore that hap - py tide, the no - ble Vir - gin 3. Near Beth- le - hem did shep-herds keep theirflocks of lambs and 4. With thank-ful heart and joy - ful mind, the shep-herds went the 5. There were three wise men from a - far di - rec - ted by a bear in mind what our good God for us has done, in and her guide were long time seek - ing up and down to feed -ing sheep; to whom God's an - gels did ap - pear, which babe to find, and as God's an - gel had fore - told, they glo-rious star, and on they wan - dered night and day un- send-ing his be -lo - ved son. With Ma - ry ho - ly find a lodg - ing in the town. But mark how all things put the shep - herds in great fear. "Pre - pare and go," the did our Sav - ior Christ be - hold. With - in a man - ger til they came where Je - sus lay. And when they came un - WORDS: Traditional English and Irish (Mt. 1:18-2:11; Luke 2:1-20) WEXFORD CAROL MUSIC: Traditional Irish melody, arr. Martin Shaw (1875-1958) LMD Published by The General Board of Discipleship of The United Methodist Church, PO Box 340003, Nashville TN 37203. Website www.gbod.org/worship Source: The Oxford Book of Carols, compiled and edited by Percy Dearmer, R. Vaughan Williams, Martin Shaw. -
View/Download Liner Notes
1 I Saw Three Ships Come Sailing In Simon Preston 2.05 15 I Sing of a Maiden Arnold Bax 4.19 Soloists: Emilia Morton soprano, Christopher Watson tenor 16 No Small Wonder Paul Edwards 2.42 2 There Is No Rose Simon Preston 2.54 17 There Is No Rose Jonathan Lane 2.39 3 Tomorrow Shall Be My Dancing Day John Gardner 2.31 18 Come Rock His Cradle Richard Knight 4.27 4 Love Came Down at Christmas Richard Lloyd 2.32 Soloist: Stephen Kennedy baritone 5 Rejoice and Be Merry Christopher Robinson 1.55 19 I Sing of a Maiden Alec Redshaw 2.10 6 The Birds Richard Hickox 1.55 20 Balulalow John Gardner 2.37 Soloist: Grace Davidson soprano Soloist: Katie Trethewey soprano 7 Benedicamus Domino Peter Warlock 1.21 21 Mary Walked Through a Wood of Thorn Philip Radcliffe 2.01 Soloists: Grace Davidson soprano, Christopher Watson tenor 8 Adam lay ybounden Peter Warlock 1.20 22 A Gallery Carol John Gardner 2.13 9 I Saw a Fair Maiden Peter Warlock 3.47 10 Balulalow Peter Warlock 2.05 Total Timing 55.35 Soloist: Grace Davidson soprano 11 As Dew in Aprylle Peter Warlock 1.52 12 Adam lay ybounden Philip Ledger 2.01 Soloist: Nicholas Madden tenor 13 On Christmas Day Simon Preston 3.49 Soloist: Joanna Forbes L’Estrange soprano 14 On Christmas Night Philip Ledger 2.16 www.tenebrae-choir.com www.tenebrae-choir.com 2 3 Introduction from Nigel Short Love is always at the heart of the Christmas message the length and breadth of the country by either and it became clear to all of us involved with this providing beautiful music for choirs to sing My love of Christmas music stems from my own recording that all of the composers represented or by devoting themselves in some way to experience as a chorister, singing all the traditional had/have a deep felt love for both their subject choirs singing beautifully. -
Hegel's Philosophy Of
L- ,o C| L> t ty- NUI MAYNOOTH Ollacali •• atiraann Wt Huad BOHM E AND HEGEL: A STUDY OF THEIR INTELLECTUAL DEVELOPMENT AND SHARED READINGS OF TWO CHRISTIAN THEOLOGOUMENA NEIL O’DONNELL SUBMITTED WITH A VIEW TO OBTAIN THE DEGREE OF M.LITT. NATIONAL UNIVERSITY OF IRELAND, MAYNOOTH DEPARTMENT OF PHILOSOPHY, FACULTY OF ARTS, CELTIC STUDIES, AND PHILOSOPHY OCTOBER 2008 ACTING HEAD OF DEPARTMENT DR MICHAEL DUNNE SUPERVISED BY DR CYRIL MCDONNELL CONTENTS Preface IV Abstract v Abbreviations and Conventions vii INTRODUCTION CHAPTER I THE DEVELOPMENT OF BÖHME AND HEGEL’S PHILOSOPHY OF RELIGION Section One Reaction Against Christian Orthodoxy 6 § 1. 1. The Development o f Böhme ’s Theological Vision in the Face o f Protestant Orthodoxy 7 § 1. 2. Hegel, Tübingen, and Protestant Orthodoxy 16 Section Two Heterodox Leanings 27 § 2. 1. Böhme ’s Period o f Silence and the Failure o f Hermeticism 28 § 2. 2. Hegel's Swabian Heritage 38 Section Three The Return to the Reformation 53 § 3. 1. Böhme ’s Return to the Reformation 54 § 3. 2. Hegel the Reformer? 68 § 3. 3. 1. Liberating Religion from Representation 76 CHAPTER II THE CONCEPT OF GOD 86 Section One The Father 91 § 1. 1. Böhme 's Conception o f the Deus Absconditus 96 § 1. 2. Hegel’s Treatment o f Böhme 's Trinitarian Dynamic 107 § 1. 3. H eg e l’s G od and its H istorical Traces 112 Section Two The Son 119 § 2. 1. The Personhood o f the Trinity 120 §2. 2. The Incarnation 130 Section Three The Holy Spirit 144 § 3. -
Autumn Leaves
Autumn Leaves EBC e-catalogue 31 2020 George bayntun Manvers Street • Bath • BA1 1JW • UK 01225 466000 [email protected] www.georgebayntun.com 1. AESOP. Aesop's Fables. With Instructive Morals and Reflections, Abstracted from all Party Considerations, Adapted To All Capacities; And designed to promote Religion, Morality, and Universal Benevolence. Containing Two Hundred and Forty Fables, with a Cut Engrav'd on Copper to each Fable. And the Life of Aesop prefixed, by Mr. Richardson. Engraved title-page and 25 plates each with multiple images. 8vo. [173 x 101 x 20 mm]. xxxiii, [iii], 192pp. Bound in contemporary mottled calf, the spine divided into six panels with raised bands and gilt compartments, lettered in the second on a red goatskin label, the others tooled in gilt with a repeated circular tool, the edges of the boards tooled with a gilt roll, plain endleaves and edges. (Rubbed, upper headcap chipped). [ebc6890] London: printed for J. Rivington, R. Baldwin, J. Hawes, W. Clarke, R. Collins, T. Caslon, S. Crowder, T. Longman, B. Law, R. Withy, J. Dodsley, G. Keith, G. Robinson, J. Roberts, & T. Cadell, [1760?]. £1000 A very good copy. With the early ink signature of Mary Ann Symonds on the front free endleaf. This is the fourth of five illustrated editions with the life by Richardson. It was first published in 1739 (title dated 1740), and again in 1749, 1753 (two issues) and 1775. All editions are rare, with ESTC listing four copies of the first, two of the second, five of the third and six of the fifth. -
Tht Hymnal Companion
THT HYMNAL ryBz COMPANION RaltmondE Glover GENERAL EDITOR VolumeThree B HYMNS 385 THRU 720 The CHURCH HYMNAL CORPORATION lVewYork 437' TelIout, my soul,the greatness of the Lord (8r+ 8zs) What wondrousloye is this. 439 , Example copyright.In all of thesebooks the tune wasassociated with textsin a lo lo. ro ro metre t;5 It wasin Hymns1/1 that thetunewas first matched with Timothy N*I.1 . BIITMI}iGHAM. L.M Dudley-Smith'stext "Tell out.my soul,the greatnessof the Lordl,, r' see"TheEasv (r798-18.3r) Instructor. A Historyand Bibriographyof the FirstShape-Note Tune-Book,"in I LowensMusic and ilrsitiort i, barty,tm"rica(New york, C<t"rnt I)ove,If ith 292-3rO. ry64),t15-r37, RG/nan 438 Tell9ut, mysoul, the greatness of the Lord light bove I Music: WOODLANDS In an increasing number of contemporaryhymnals, the matchingof this text with the tune woopraNos is becomingthe standardpractice. Words:See hymn 437. Music:wooDLANDS, a stirring unisontune, first appearedin the Pub-lic schoolHymnbook (London, rqrq) The tune isnamed after one of the schoolhouses at Gresham'sSchool, Norfolk, England,*hr* th. Be thou.lur guartliarr , our guide I O'er composer' walter Greatorex, was Director of Music. (one of the distinguished pupils of Gresham'sschool in the early part of this centurywas Benjamin Britten.) It appearedin H4o witir ihe Addison "Rise, text crownedwith light, imperialsalem, rise." The opening four-notefigure of the tune ; = is ideallysuited tothe declamatory opening of eachline of thetext, "Tell out, my soul." e+ AW tht,tr.qht prns i,ii 439 What wondrouslove is this Music: WONDROUS LOVE This well-knownAmerican Reproduced trom A Selection ot' Psalm Tunes (London, r834), courtesy of Special Collections, folk hymn,matched with its propertune, Universityof Vermont Library.