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LORD, You Have Lavished on Your Land
Author: Marie J. Post Meter: 8.8.8.8.8.8 Appears in 3 hymnals Topics: Atonement; Biblical Names and Places Jacob; Church Year Advent; Earth; Elements of Worship Lord's Supper; Elements of Worship Prayer for Illumination; God's Word; God's Anger; God's Forgiveness; God's Glory; God's Love; God's People (flock, sheep); God's Promise of Redemption; Guilt; Joy; Justice; Lament Community; Lament General; Love; New Creation; Occasional Services Civic / National Occasions; Peace; Renewal; Social Justice; Sorrow; Truth; Unity and Fellowship; Year A, Ordinary Time after Pentecost, August 7-13; Year B, Advent, 2nd Sunday; Year B, Ordinary Time after Pentecost, July 10-16; Year C, Ordinary Time after Pentecost, July 24-30 Scripture: Psalm 85 Used With Tune: MELITA
LORD, You Have Lavished on Your Land
LORD, You Have Lavished on Your Land (Psalm 85)
Author: Marie J. Post Hymnal: Lift Up Your Hearts #65 (2013) Meter: 8.8.8.8.8.8 First Line: LORD, you have lavished on your land Topics: Church Year Advent Scripture: Psalm 85 Languages: English Tune Title: MELITA
LORD, You Have Lavished on Your Land (Psalm 85)
LORD, You Have Lavished on Your Land
Author: Marie J. Post Hymnal: Psalter Hymnal (Gray) #85 (1987) Meter: 8.8.8.8.8.8 Topics: Laments; Reformation; Atonement; Christmas; Laments; Peace; Reformation Scripture: Psalm 85 Languages: English Tune Title: NEW 113TH
LORD, You Have Lavished on Your Land
LORD, You Have Lavished on Your Land
Author: Marie J. Post Hymnal: Psalms for All Seasons #85A (2012) Meter: 8.8.8.8.8.8 Topics: Atonement; Biblical Names and Places Jacob; Church Year Advent; Earth; Elements of Worship Lord's Supper; Elements of Worship Prayer for Illumination; God's Word; God's Anger; God's Forgiveness; God's Glory; God's Love; God's People (flock, sheep); God's Promise of Redemption; Guilt; Joy; Justice; Lament Community; Lament General; Love; New Creation; Occasional Services Civic / National Occasions; Peace; Renewal; Social Justice; Sorrow; Truth; Unity and Fellowship; Year A, Ordinary Time after Pentecost, August 7-13; Year B, Advent, 2nd Sunday; Year B, Ordinary Time after Pentecost, July 10-16; Year C, Ordinary Time after Pentecost, July 24-30 Scripture: Psalm 85 Tune Title: MELITA
LORD, You Have Lavished on Your Land
John Bacchus Dykes
1823 - 1876 Person Name: John B. Dykes, 1823-1876 Composer of "MELITA" in Psalms for All Seasons As a young child John Bacchus Dykes (b. Kingston-upon-Hull' England, 1823; d. Ticehurst, Sussex, England, 1876) took violin and piano lessons. At the age of ten he became the organist of St. John's in Hull, where his grandfather was vicar. After receiving a classics degree from St. Catherine College, Cambridge, England, he was ordained in the Church of England in 1847. In 1849 he became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals. He served the parish of St. Oswald in Durham from 1862 until the year of his death. To the chagrin of his bishop, Dykes favored the high church practices associated with the Oxford Movement (choir robes, incense, and the like). A number of his three hundred hymn tunes are still respected as durable examples of Victorian hymnody. Most of his tunes were first published in Chope's Congregational Hymn and Tune Book (1857) and in early editions of the famous British hymnal, Hymns Ancient and Modern.
Bert Polman
John Bacchus Dykes
Marie J. Post
1919 - 1990 Author of "LORD, You Have Lavished on Your Land" in Psalms for All Seasons Marie (Tuinstra) Post (b. Jenison, MI, 1919; d. Grand Rapids, MI, 1990) While attending Dutch church services as a child, Post was first introduced to the Genevan psalms, which influenced her later writings. She attended Calvin College, Grand Rapids, Michigan, where she studied with Henry Zylstra. From 1940 to 1942 she taught at the Muskegon Christian Junior High School. For over thirty years Post wrote poetry for the Grand Rapids Press and various church periodicals. She gave many readings of her poetry in churches and schools and has been published in a number of journals and poetry anthologies. Two important collections of her poems are I Never Visited an Artist Before (1977) and the posthumous Sandals, Sails, and Saints (1993). A member of the 1987 Psalter Hymnal Revision Committee, Post was a significant contributor to its array of original texts and paraphrases.
Bert Polman
Marie J. Post
William Hayes
1706 - 1777 Composer of "NEW 113TH" in Psalter Hymnal (Gray) William Hayes (26 January 1708 (baptised) – 27 July 1777) was an English composer, organist, singer and conductor.
Hayes was born in Gloucester. He trained at Gloucester Cathedral and spent the early part of his working life as organist of St Mary’s, Shrewsbury (1729) and Worcester Cathedral (1731). The majority of his career was spent at Oxford where he was appointed organist of Magdalen College in 1734, and established his credentials with the degrees of B.Mus in 1735 and D.Mus in 1749. (He was painted by John Cornish in his doctoral robes around 1749.) In 1741 he was unanimously elected Professor of Music and organist of the University Church. He presided over the city’s concert life for the next 30 years, and was instrumental in the building of the Holywell Music Room in Oxford in 1748, the oldest purpose-built music room in Europe. He was one of the earliest members of the Royal Society of Musicians, and in 1765 was elected a ‘privileged member’ of the Noblemen’s and Gentlemen’s Catch Club. He died in Oxford, aged 69.
William Hayes was an enthusiastic Handelian, and one of the most active conductors of his oratorios and other large-scale works outside London. His wide knowledge of Handel left a strong impression on his own music, but by no means dominated it. As a composer he tended towards genres largely ignored by Handel—English chamber cantatas, organ-accompanied anthems and convivial vocal music—and his vocal works show an English preference for non-da capo aria forms. Hayes also cultivated a self-consciously ‘learned’ polyphonic style (perhaps inspired by his antiquarian interests) which can be seen in his many canons, full-anthems, and the strict fugal movements of his instrumental works. Nevertheless, several of his late trio sonatas show that he was not deaf to newly emerging Classical styles. Although he published virtually none of his instrumental music, his vocal works were extremely popular, and the printed editions were subscribed to by large numbers of amateur and professional musicians. Substantial works like his ode The Passions, the one-act oratorio The Fall of Jericho, and his Six Cantatas demonstrate that Hayes was one of the finest English composers of the eighteenth century.
As a writer, his Art of Composing Music includes the first published description of aleatoric composition—music composed by chance—albeit deliberately satirical in intent. In his Remarks he reveals much about his aesthetic outlook: in particular that he valued the music of Handel and Corelli over that of Rameau, Benedetto Marcello and Geminiani. Finally, the Anecdotes offer insights into the organization of provincial music festivals in the mid-eighteenth century. Hayes bequeathed his important and wide-ranging music library to his son Philip Hayes; the manuscripts of both father and son eventually passed to the Bodleian Library, Oxford, in 1801.
Sacred works
The Fall of Jericho, oratorio, c. 1740–50
Sixteen Psalms (London, 1773)
David, oratorio, completed by Philip Hayes
around 20 anthems and service music, in Cathedral Music in Score, edited by Philip Hayes (Oxford, 1795)
--en.wikipedia.org/wiki
William Hayes
