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We Thank Thee O Our Father
Author: Anon. Appears in 26 hymnals First Line: We thank thee, O our Father Used With Tune: AURELIA
We Thank Thee O Our Father
We Thank Thee, O Our Father
Author: Anonymous Hymnal: The Cyber Hymnal #7693 Meter: 7.6.7.6 D Lyrics: 1. We thank Thee, O our Father,
For all Thy loving care;
We thank Thee that Thou madest
The world so bright and fair.
We thank Thee for the sunshine,
And for the pleasant showers;
And O, our God, we thank Thee,
We thank Thee for the flowers.
2. Out in the sunny meadows
And in the woodlands cool,
Upon the breezy hillside,
And by each reedy pool,
And in the quiet pasture,
And by the broad highways,
All pure, and fresh, and stainless,
They spring up every day.
3. And in the dusty city,
Where busy crowds pass by,
And where the tall dark houses
Stand up and hide the sky;
And where through lanes and alleys
No pleasant breezes blow,
Even there, O God, our Father,
Thou mak’st the flowers grow.
4. And whether in the city
Or in the fields they dwell
Always the same sweet message,
The fair, sweet flowers tell.
For they are all so wondrous,
They show Thy power abroad;
And they are all so beauteous,
They tell Thy love, O God. Languages: English Tune Title: ENDSLEIGH
We Thank Thee, O Our Father
We thank thee, O our Father, for all thy loving care
Hymnal: Songs for Little Children #d37 (1937)
We thank thee, O our Father, for all thy loving care
We thank thee, O our Father, for all thy loving care
Hymnal: Songs of Praise for Schools #d66 (1957)
We thank thee, O our Father, for all thy loving care
Anonymous
Person Name: Anon. Author of "We Thank Thee O Our Father" in Hymns for Today 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
Samuel Sebastian Wesley
1810 - 1876 Person Name: Samuel S. Wesley Composer of "AURELIA" in Hymns for Today Samuel Sebastian Wesley (b. London, England, 1810; d. Gloucester, England, 1876) was an English organist and composer. The grandson of Charles Wesley, he was born in London, and sang in the choir of the Chapel Royal as a boy. He learned composition and organ from his father, Samuel, completed a doctorate in music at Oxford, and composed for piano, organ, and choir. He was organist at Hereford Cathedral (1832-1835), Exeter Cathedral (1835-1842), Leeds Parish Church (1842-1849), Winchester Cathedral (1849-1865), and Gloucester Cathedral (1865-1876). Wesley strove to improve the standards of church music and the status of church musicians; his observations and plans for reform were published as A Few Words on Cathedral Music and the Music System of the Church (1849). He was the musical editor of Charles Kemble's A Selection of Psalms and Hymns (1864) and of the Wellburn Appendix of Original Hymns and Tunes (1875) but is best known as the compiler of The European Psalmist (1872), in which some 130 of the 733 hymn tunes were written by him.
Bert Polman
Samuel Sebastian Wesley
James Turle
1802 - 1882 Person Name: James Turle, 1802 - 1882 Arranger of "ENDSLEIGH" in The Hymnary of the United Church of Canada TURLE, JAMES (1802–1882), organist and composer, son of James Turle, an amateur 'cello-player, was born at Taunton, Somerset, on 5 March 1802. From July 1810 to December 1813 he was a chorister at Wells Cathedral under Dodd Perkins, the organist. At the age of eleven he came to London, and was articled to John Jeremiah Goss, but he was largely self-taught. He had an excellent voice and frequently sang in public. John Goss [q. v.], his master's nephew, was his fellow student, and thus the future organists of St. Paul's Cathedral and Westminster Abbey were pupils together. Turle was organist of Christ Church, Surrey (Blackfriars Road), 1819–1829, and of St. James's, Bermondsey, 1829–31. His connection with Westminster Abbey began in 1817, when he was only fifteen. He was at first pupil of and assistant to G. E. Williams, and subsequently deputy to Thomas Greatorex [q. v.], Williams's successor as organist of the abbey. On the death of Greatorex on 18 July 1831, Turle was appointed organist and master of the choristers, an office which he held for a period of fifty-one years. Turle played at several of the great musical festivals, e.g. Birmingham and Norwich, under Mendelssohn and Spohr, but all his interests were centred in Westminster Abbey. His playing at the Handel festival in 1834 attracted special attention. At his own request the dean and chapter relieved him of the active duties of his post on 26 Sept. 1875, when his service in D was sung, and Dr. (now Professor Sir John Frederick) Bridge, the present organist, became permanent deputy-organist. Turle continued to hold the titular appointment till his death, which took place at his house in the Cloisters on 28 June 1882. The dean offered a burial-place within the precincts of the abbey, but he was interred by his own express wish beside his wife in Norwood cemetery. A memorial window, in which are portraits of Turle and his wife, was placed in the north aisle of the abbey by one of his sons, and a memorial tablet has been affixed to the wall of the west cloister. Turle married, in 1823, Mary, daughter of Andrew Honey, of the exchequer office. She died in 1869, leaving nine children. Henry Frederic Turle [q. v.] was his fourth son. His younger brother Robert was for many years organist of Armagh Cathedral.
Turle was an able organist of the old school, which treated the organ as essentially a legato instrument. He favoured full ‘rolling’ chords, which had a remarkable effect on the vast reverberating space of the abbey. He had a large hand, and his ‘peculiar grip’ of the instrument was a noticeable feature of his playing. His accompaniments were largely traditional of all that was best in his distinguished predecessors, and he greatly excelled in his extemporaneous introductions to the anthems. Like Goss, he possessed great facility in reading from a ‘figured bass.’ Of the many choristers who passed through his hands, one of the most distinguished is Mr. Edward Lloyd, the eminent tenor singer.
His compositions include services, anthems, chants, and hymn-tunes. Several glees remain in manuscript. In conjunction with Professor Edward Taylor [q. v.] he edited ‘The People's Music Book’ (1844), and ‘Psalms and Hymns’ (S. P. C. K. 1862). His hymn-tunes were collected by his daughter, Miss S. A. Turle, and published in one volume (1885). One of these, ‘Westminster,’ formerly named ‘Birmingham,’ has become widely known, and is very characteristic of its composer.
--en.wikisource.org/
James Turle
