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Come, Holy Ghost, our souls inspire
Author: Rabanus Maurus; John Cosin Meter: 8.8.8.8 Appears in 238 hymnals
Come, Holy Ghost, our souls inspire
VENI CREATOR SPIRITUS (MECHLIN)
Meter: 8.8.8.8 Appears in 145 hymnals Composer and/or Arranger: Andrew Moore Tune Sources: "Proper Sarum Melody" Tune Key: b minor Incipit: 56545 65122 11561 Used With Text: Come, Holy Ghost, our souls inspire
VENI CREATOR SPIRITUS (MECHLIN)
COME HOLY GHOST
Meter: 8.8 Appears in 12 hymnals Composer and/or Arranger: John Henry Hopkins Jr., 1820-1891; David Hurd, b. 1950 Tune Key: C Major Incipit: 55555 64556 67716 Used With Text: Come Holy Ghost, our souls inspire
COME HOLY GHOST
COME, HOLY GHOST
Appears in 20 hymnals Composer and/or Arranger: T. Attwood, 1765-1838 Tune Key: E Flat Major Incipit: 51765 31233 25672 Used With Text: Come Holy Ghost, our souls inspire
COME, HOLY GHOST
Come, Holy Ghost, our souls inspire
Author: Bp. John Cosin 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 #289a (1894) Meter: Irregular Lyrics: 1 Come, Holy Ghost, our souls inspire,
And lighten with celestial fire.
2 Thou the anointing Spirit art,
Who dost thy sevenfold gifts impart.
3 Thy blessèd unction from above
Is comfort, life, and fire of love.
4 Enable with perpetual light
The dulness of our blinded sight.
5 Anoint and cheer our soilèd face
With the abundance of Thy grace.
6 Keep far our foes, give peace at home:
Where Thou art Guide, no ill can come.
7 Teach us to know the Father, Son,
And Thee, of both, to be but One,
9 That, through the ages all along,
This may be our endless song;
5 Praise to Thy eternal merit,
Father, Son, and Holy Spirit.
Amen. Topics: Whitsuntide Languages: English Tune Title: [Come, Holy Ghost, our souls inspire]
Come, Holy Ghost, our souls inspire
Come, Holy Ghost, our souls inspire
Author: Bp. John Cosin 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 #289b (1894) Meter: Irregular Lyrics: 1 Come, Holy Ghost, our souls inspire,
And lighten with celestial fire.
2 Thou the anointing Spirit art,
Who dost thy sevenfold gifts impart.
3 Thy blessèd unction from above
Is comfort, life, and fire of love.
4 Enable with perpetual light
The dulness of our blinded sight.
5 Anoint and cheer our soilèd face
With the abundance of Thy grace.
6 Keep far our foes, give peace at home:
Where Thou art Guide, no ill can come.
7 Teach us to know the Father, Son,
And Thee, of both, to be but One,
9 That, through the ages all along,
This may be our endless song;
5 Praise to Thy eternal merit,
Father, Son, and Holy Spirit.
Amen. Languages: English Tune Title: [Come, Holy Ghost, our souls inspire]
Come, Holy Ghost, our souls inspire
Come, Holy Ghost, Our Souls Inspire
Hymnal: Hymns of Consecration and Faith #176 (1902) Languages: English Tune Title: [Come, Holy Ghost, our souls inspire]
Come, Holy Ghost, Our Souls Inspire
William Henry Monk
1823 - 1889 Person Name: W. H. Monk Arranger of "HURSLEY" in Sacred Songs No. 2 William H. Monk (b. Brompton, London, England, 1823; d. London, 1889) is best known for his music editing of Hymns Ancient and Modern (1861, 1868; 1875, and 1889 editions). He also adapted music from plainsong and added accompaniments for Introits for Use Throughout the Year, a book issued with that famous hymnal. Beginning in his teenage years, Monk held a number of musical positions. He became choirmaster at King's College in London in 1847 and was organist and choirmaster at St. Matthias, Stoke Newington, from 1852 to 1889, where he was influenced by the Oxford Movement. At St. Matthias, Monk also began daily choral services with the choir leading the congregation in music chosen according to the church year, including psalms chanted to plainsong. He composed over fifty hymn tunes and edited The Scottish Hymnal (1872 edition) and Wordsworth's Hymns for the Holy Year (1862) as well as the periodical Parish Choir (1840-1851).
Bert Polman
William Henry Monk
John Bacchus Dykes
1823 - 1876 Person Name: John B. Dykes Composer of "ST. OSWALD" in Luther League Hymnal 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
Samuel Webbe
1740 - 1816 Person Name: Samuel Webbe, sen., 1740-1817 Composer of "MELCOMBE" in Hymns and Chorales Samuel Webbe (the elder; b. London, England, 1740; d. London, 1816) Webbe's father died soon after Samuel was born without providing financial security for the family. Thus Webbe received little education and was apprenticed to a cabinetmaker at the age of eleven. However, he was determined to study and taught himself Latin, Greek, Hebrew, French, German, and Italian while working on his apprenticeship. He also worked as a music copyist and received musical training from Carl Barbant, organist at the Bavarian Embassy. Restricted at this time in England, Roman Catholic worship was freely permitted in the foreign embassies. Because Webbe was Roman Catholic, he became organist at the Portuguese Chapel and later at the Sardinian and Spanish chapels in their respective embassies. He wrote much music for Roman Catholic services and composed hymn tunes, motets, and madrigals. Webbe is considered an outstanding composer of glees and catches, as is evident in his nine published collections of these smaller choral works. He also published A Collection of Sacred Music (c. 1790), A Collection of Masses for Small Choirs (1792), and, with his son Samuel (the younger), Antiphons in Six Books of Anthems (1818).
Bert Polman
Samuel Webbe
