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Lord, from the depths to thee I cried
Meter: 8.6.8.6 Appears in 28 hymnals Matching Instances: 28 Lyrics: 1 Lord, from the depths to thee I cried.
2 My voice, Lord, do thou hear:
unto my supplication's voice
give an attentive ear.
3 Lord, who shall stand, if thou, O Lord,
should'st mark iniquity?
4 But yet with thee forgiveness is,
that feared though mayest be.
5 I wait for God, my soul doth wait,
my hope is in his word.
6 More than they that for morning watch,
my soul waits for the Lord;
yea, even more than they that watch
the morning light to see.
7 Let Israel in Jehovah hope,
for with him mercies be;
Redemption also plenteous
is ever found with him.
8 And from all his iniquities
he Israel shall redeem.
Scripture: Psalm 130 Used With Tune: MARTYRDOM (FENWICK)
Lord, from the depths to thee I cried
MARTYRDOM (FENWICK)
Meter: 8.6.8.6 Appears in 950 hymnals Matching Instances: 3 Composer and/or Arranger: Hugh Wilson (1766-1824); Robert Archibald Smith (1780-1829) Tune Key: G Major Incipit: 51651 23213 53213 Used With Text: Psalm 130
MARTYRDOM (FENWICK)
Lord, from the Depths to Thee I Cried
Author: Anonymous Hymnal: The Cyber Hymnal #3685 Meter: 8.6.8.6 Lyrics: 1. Lord, from the depths to Thee I cried:
My voice, Lord, do Thou hear;
Unto my supplication’s voice
Give an attentive ear.
2. Lord, who shall stand, if Thou, O Lord,
Shouldst mark iniquity?
But yet with Thee forgiveness is,
That feared Thou mayest be.
3. I wait for God, my soul doth wait;
My hope is in His Word.
More than they that for morning watch,
My soul waits for the Lord.
4. I say, more than they that do watch
The morning light to see.
Let Israel hope in the Lord,
For with Him mercies be.
5. Redemption also plenteous
Is ever found with Him;
And from all his iniquities
He Israel shall redeem. Languages: English Tune Title: SONG 67 (Gibbons)
Lord, from the Depths to Thee I Cried
Lord, from the depths to Thee I cried
Hymnal: The Hymnary of the United Church of Canada #686 (1930) Meter: 8.6.8.6 Scripture: Psalm 130 Languages: English Tune Title: COLESHILL
Lord, from the depths to Thee I cried
Lord, from the depths to Thee I cried
Hymnal: The Hymnary for use in Baptist churches #686 (1936) Meter: 8.6.8.6 Scripture: Psalm 130 Languages: English Tune Title: COLESHILL
Lord, from the depths to Thee I cried
Hugh Wilson
1766 - 1824 Composer of "MARTYRDOM" in The Presbyterian Book of Praise Hugh Wilson (b. Fenwick, Ayrshire, Scotland, c. 1766; d. Duntocher, Scotland, 1824) learned the shoemaker trade from his father. He also studied music and mathematics and became proficient enough in various subjects to become a part-time teacher to the villagers. Around 1800, he moved to Pollokshaws to work in the cotton mills and later moved to Duntocher, where he became a draftsman in the local mill. He also made sundials and composed hymn tunes as a hobby. Wilson was a member of the Secession Church, which had separated from the Church of Scotland. He served as a manager and precentor in the church in Duntocher and helped found its first Sunday school. It is thought that he composed and adapted a number of psalm tunes, but only two have survived because he gave instructions shortly before his death that all his music manuscripts were to be destroyed.
Bert Polman
Hugh Wilson
Orlando Gibbons
1583 - 1625 Composer of "SONG 67 (Gibbons)" in The Hymnbook Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was an English composer, virginalist and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day.
Gibbons was born in Cambridge and christened at Oxford the same year – thus appearing in Oxford church records.
Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university in 1598 and achieved the degree of Bachelor of Music in 1606. James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and a monument to him was built in Canterbury Cathedral. A suspicion immediately arose that Gibbons had died of the plague, which was rife in England that year. Two physicians who had been present at his death were ordered to make a report, and performed an autopsy, the account of which survives in The National Archives:
We whose names are here underwritten: having been called to give our counsels to Mr. Orlando Gibbons; in the time of his late and sudden sickness, which we found in the beginning lethargical, or a profound sleep; out of which, we could never recover him, neither by inward nor outward medicines, & then instantly he fell in most strong, & sharp convulsions; which did wring his mouth up to his ears, & his eyes were distorted, as though they would have been thrust out of his head & then suddenly he lost both speech, sight and hearing, & so grew apoplectical & lost the whole motion of every part of his body, & so died. Then here upon (his death being so sudden) rumours were cast out that he did die of the plague, whereupon we . . . caused his body to be searched by certain women that were sworn to deliver the truth, who did affirm that they never saw a fairer corpse. Yet notwithstanding we to give full satisfaction to all did cause the skull to be opened in our presence & we carefully viewed the body, which we found also to be very clean without any show or spot of any contagious matter. In the brain we found the whole & sole cause of his sickness namely a great admirable blackness & syderation in the outside of the brain. Within the brain (being opened) there did issue out abundance of water intermixed with blood & this we affirm to be the only cause of his sudden death.
His death was a shock to peers and the suddenness of his passing drew comment more for the haste of his burial – and of its location at Canterbury rather than the body being returned to London. His wife, Elizabeth, died a little over a year later, aged in her mid-30s, leaving Orlando's eldest brother, Edward, to care for the children left orphans by this event. Of these children only the eldest son, Christopher Gibbons, went on to become a musician.
One of the most versatile English composers of his time, Gibbons wrote a quantity of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being "The Silver Swan"), and many popular verse anthems. His choral music is distinguished by his complete mastery of counterpoint, combined with his wonderful gift for melody. Perhaps his most well known verse anthem is This is the record of John, which sets an Advent text for solo countertenor or tenor, alternating with full chorus. The soloist is required to demonstrate considerable technical facility at points, and the work at once expresses the rhetorical force of the text, whilst never being demonstrative or bombastic. He also produced two major settings of Evensong, the Short Service and the Second Service. The former includes a beautifully expressive Nunc dimittis, while the latter is an extended composition, combining verse and full sections. Gibbons's full anthems include the expressive O Lord, in thy wrath, and the Ascension Day anthem O clap your hands together for eight voices.
He contributed six pieces to the first printed collection of keyboard music in England, Parthenia (to which he was by far the youngest of the three contributors), published in about 1611. Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits full mastery of three- and four-part counterpoint. Most of the fantasias are complex, multisectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody in both fantasias and dances features a capability for almost limitless development of simple musical ideas, on display in works such as Pavane in D minor and Lord Salisbury's Pavan and Galliard.
In the 20th century, the Canadian pianist Glenn Gould championed Gibbons's music, and named him as his favorite composer. Gould wrote of Gibbons's hymns and anthems: "ever since my teen-age years this music ... has moved me more deeply than any other sound experience I can think of." In one interview, Gould compared Gibbons to Beethoven and Webern:
...despite the requisite quota of scales and shakes in such half-hearted virtuoso vehicles as the Salisbury Galliard, one is never quite able to counter the impression of music of supreme beauty that lacks its ideal means of reproduction. Like Beethoven in his last quartets, or Webern at almost any time, Gibbons is an artist of such intractable commitment that, in the keyboard field, at least, his works work better in one's memory, or on paper, than they ever can through the intercession of a sounding-board.
To this day, Gibbons's obit service is commemorated every year in King's College Chapel, Cambridge.
--wikipedia.org
Orlando Gibbons
Anonymous
Author of "Lord, from the Depths to Thee I Cried" in The Cyber 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
