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Glory to Thee, O Lord
Author: H. W. Beadon Appears in 13 hymnals Used With Tune: BUCER
Glory to Thee, O Lord
ST. HELENA
Meter: 6.6.8.6 Appears in 24 hymnals Composer and/or Arranger: ? Incipit: 13122 15756 65431 Used With Text: Glory to Thee, O Lord
ST. HELENA
DAY OF PRAISE
Meter: 6.6.8.6 Appears in 43 hymnals Composer and/or Arranger: C. Steggall Tune Key: F Major Incipit: 53162 71671 4323 Used With Text: Glory to Thee, O Lord
DAY OF PRAISE
Glory to Thee, O Lord, Who by Thy mighty power
Author: H. W. Beadon Hymnal: Hymnal Companion to the Prayer Book #97 (1907) Languages: English
Glory to Thee, O Lord, Who by Thy mighty power
Glory to Thee, O Lord
Author: Rev. H. W. Beadon Hymnal: The Hymnal, Revised and Enlarged, as adopted by the General Convention of the Protestant Episcopal Church in the United States of America in the year of our Lord 1892 #70 (1894) Meter: 6.6.8.6 Lyrics: 1 Glory to Thee, O Lord,
Who by Thy mighty power
Didst manifest Thy glory forth
In Cana's marriage hour.
2 Thou spakest: it was done:
Obedient to Thy word,
The water reddening into wine
Proclaimed the present Lord.
3 Blest were the eyes which saw
That wondrous mystery,
The great beginning of Thy works.
That kindled faith in Thee.
4 And blessèd they who know
Thine unseen presence true,
When in the kingdom of Thy grace
Thou makest all things new.
5 For by Thy loving hand
Thy people still are fed;
Thine is the cup of blessing, Lord,
And Thou the heavenly Bread.
6 Oh, may that grace be ours,
Ever in Thee to live,
And drink of those refreshing streams,
Which Thou alone canst give;
7 So, led from strength to strength,
Grant us, O Lord, to see
The marriage supper of the Lamb,
Thy great Epiphany.
Amen.
Languages: English Tune Title: [Glory to Thee, O Lord]
Glory to Thee, O Lord
Glory to thee, O Lord, Who by thy mighty power
Author: Hyde W. Beadon Hymnal: Book of Common Praise #d145 (1915) Languages: English
Glory to thee, O Lord, Who by thy mighty power
Anonymous
Person Name: ? Composer of "ST. HELENA" in The Church Hymnal In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.
Anonymous
Robert Schumann
1810 - 1856 Person Name: R. Schumann Composer of "BUCER" in The Book of Praise for Sunday Schools Robert Alexander Schumann DM Germany 1810-1856. Born at Swickau, Saxony, Germany, the last child of a novelist, bookseller, and publisher, he began composing music at age seven. He received general music instruction at the local high school and worked to create his own compositions. Some of his works were considered admirable for his age. He even composed music congruent to the personalities of friends, who took note of the anomaly. He studied famous poets and philosophers and was impressed with the works of other famous composers of the time. After his father’s death in 1826, he went to Leipzig to study law (to meet the terms of his inheritance). In 1829 he continued law studies in Heidelberg, where he became a lifelong member of Corps Saxo-Borussia Heidelberg. In 1830 he left the study of law to return to music, intending to pursue a career as a virtuoso pianist. His teacher, Friedrich Wieck, assured him he could become the finest pianist in Europe, but an injury to his right hand (from a practicing method) ended that dream. He then focused his energies on composition, and studied under Heinrich Dorn, a German composer and conductor of the Leipzig opera. Schumann visited relatives in Zwickau and Schneeberg and performed at a concert given by Clara Wieck, age 13 at the time. In 1834 he published ‘A new journal for music’, praising some past composers and deriding others. He met Felix Mendelssohn at Wieck’s house in Leigzig and lauded the greatness of his compositions, along with those of Johannes Brahms. He also wrote a work, hoping to use proceeds from its sale towards a monument for Beethoven, whom he highly admired. He composed symphonies, operas, orchestral and chamber works, and also wrote biographies. Until 1840 he wrote strictly for piano, but then began composing for orchestra and voice. That year he composed 168 songs. He also receive a Doctorate degree from the University of Jena that year. An aesthete and influential music critic, he was one of the most regarded composers of the Romantic era. He published his works in the ‘New journal for music’, which he co-founded. In 1840, against the wishes of his father, he married Clara Wieck, daughter of his former teacher, and they had four children: Marie, Julie, Eugenie, and Felix. Clara also composed music and had a considerable concert career, the earnings from which formed a substantial part of her father’s fortune. In 1841 he wrote 2 of his 4 symphonies. In 1843 he was awarded a professorship in the Conservatory of Music, which Mendelssohn had founded in Leipzig that same year, When he and Clara went to Russia for her performances, he was questioned as to whether he also was a musician. He harbored resentment for her success as a pianist, which exceeded his ability as a pianist and reputation as a composer. From 1844-1853 he was engaged in setting Goethe’s Faust to music, but he began having persistent nervous prostration and developed neurasthenia (nervous fears of things, like metal objects and drugs). In 1846 he felt he had recovered and began traveling to Vienna, Prague, and Berlin, where he was received with enthusiasm. His only opera was written in 1848, and an orchestral work in 1849. In 1850 he succeeded Ferdinand Hiller as musical director at Dusseldorf, but was a poor conductor and soon aroused the opposition of the musicians, claiming he was impossible on the platform. From 1850-1854 he composed a wide variety of genres, but critics have considered his works during this period inferior to earlier works. In 1851 he visited Switzerland, Belgium, and returned to Leipzig. That year he finished his fourth symphony. He then went to Dusseldorf and began editing his complete works and making an anthology on the subject of music. He again was plagued with imaginary voices (angels, ghosts or demons) and in 1854 jumped off a bridge into the Rhine River, but was rescued by boatmen and taken home. For the last two years of his life, after the attempted suicide, Schumann was confined to a sanitarium in Endenich near Bonn, at his own request, and his wife was not allowed to see him. She finally saw him two days before he died, but he was unable to speak. He was diagnosed with psychotic melancholia, but died of pneumonia without recovering from the mental illness. Speculations as to the cause of his late term maladies was that he may have suffered from syphilis, contracted early in life, and treated with mercury, unknown as a neurological poison at the time. A report on his autopsy said he had a tumor at the base of the brain. It is also surmised he may have had bipolar disorder, accounting for mood swings and changes in his productivity. From the time of his death Clara devoted herself to the performance and interpretation of her husband’s works.
John Perry
Robert Schumann
Hyde Wyndham Beadon
1812 - 1891 Person Name: H. W. Beadon Author of "Glory to Thee, O Lord" in The Book of Praise for Sunday Schools Beadon, Hyde Wyndham, M.A., born in 1812, and educated at Eton and at St. John's College, Cambridge, B.A., 1835, M.A., 1839. Taking Holy Orders in 1836, he became, in 1837, Vicar of Haselbury Plucknett, near Crewkerne, and, in 1838, Vicar of Latton, Wilts. He is also Hon. Canon of Bristol, and Rural Dean. His hymns were published in The Parish Hymn Book , 1863 and 1875, of which he was co-editor with the Rev. G. Phillimore, and Bp. Woodford. To that collection, in 1863, he contributed the following hymns:—
1. Fierce was the storm of wind. Epiphany.
2. Glory to thee, 0 Lord, Who by, &c. Epiphany. This is usually given as, "All praise to Thee, 0 Lord,
Who by," &c, and is found in several hymnals.
3. 0 God, Thy soldiers' crown. A translation of "Deus tuorum militum" (q.v.). This is sometimes given as, "0 Christ," &c.
4. The Son of Man shall come. Epiphany.
The peculiarity of these hymns is that they are all in S.M. Their use is somewhat limited, with the exception of Nos. 1 and 2.
-- John Julian, Dictionary of Hymnology (1907)
Hyde Wyndham Beadon
