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Author: C. Wesley Appears in 106 hymnals Topics: The Church Year Twenty-sixth Sunday after Trinity; The Church Year Twenty-sixth Sunday after Trinity Lyrics: 1 Come, ye weary sinners, come, All who your heavy load; Jesus calls His wanderers home; Hasten to your pardoning God. 2 Come, ye guilty souls opprest, Answer to the Savior’s call: "Come, and I will give you rest; "Come, and I will save you all." 3 Jesus, full of truth and love, We Thy gracious call obey: Faithful let Thy mercies prove, Take our load of guilt away. 4 Fain we would on Thee rely, Cast on Thee our sin and care: To Thine arms of mercy fly, Find our lasting quiet there. 5 Lo, we come to Thee for ease: True and gracious as Thou art, Now our groaning souls release, Write forgiveness on our heart. Used With Tune: [Come, ye weary sinners, come]

Nu takker alle Gud

Author: Martin Rinkart; Ukj. Appears in 8 hymnals Topics: Twenty-sixth Sunday after Trinity Sunday For Evening Lyrics: 1 Nu takker alle Gud Med Hjerte, Mund og Hænder, Som overflødigt Godt Os uforskyldt tilsender, Som alt fra Moders Liv Paa os har naadig tænkt, Og al Nødtørstighed Saa rigeligen skjænkt! 2 Den evig rige Gud Han os fremdeles unde Sjæls Glæde, Ro og Fred, Han give, at vi kunde I Naade altid staa Hos ham, og ved vor Bøn Faa Hjelp i Nød og Død, Tilsidst en Naade-Løn! 3 Gud Fader og Guds Søn Ske evig Pris og Ære, Den værdig Helligaand Derhos høilovet være! Velsignet Guddom, som Forbliver, var og er, Vi dig id Ydmyghed Vort Takke-Offer bær! Used With Tune: [Nu takker alle Gud ]

Jerusalem the golden

Author: Bernard de Morlaix; John Mason Neale Meter: 7.6 Appears in 911 hymnals Topics: Twenty Sixth Sunday after Trinity Lyrics: 1 Jerusalem, the golden, With milk and honey blest, Beneath thy contemplation Sink heart and voice opprest: I know not, O I know not, What social joys are there! What radiancy of glory, What bliss beyond compare! 2 And when I fain would sing them My spirit fails and faints, And vainly would it image The assembly of the saints. They stand, those halls of Zion, Conjubilant with song, And bright with many an angel, And all the martyr throng: 3 There is the Throne of David; And there, from care released, The song of them that triumph, The shout of them that feast; And they who, with their Leader, Have conquered in the fight, For ever and for ever Are clad in robes of white! Used With Tune: EWING

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Tune authorities

[Nu takker alle Gud ]

Appears in 541 hymnals Composer and/or Arranger: J. Crüger Topics: Twenty-sixth Sunday after Trinity Sunday For Evening Tune Key: F Major or modal Incipit: 55566 53432 32155 Used With Text: Nu takker alle Gud

ST. CROSS

Meter: 8.8.8.8 Appears in 144 hymnals Topics: Twenty Sixth Sunday after Trinity Tune Key: d minor Incipit: 33451 76555 67354 Used With Text: That Day of wrath, that dreadful Day

[Jesu, din søde Forening at smage]

Appears in 18 hymnals Topics: Twenty-sixth Sunday after Trinity Sunday High Mass Tune Sources: Hos Schørring, 1781 Tune Key: E Flat Major Incipit: 12332 56565 43234 Used With Text: Jesu, din søde Forening at smage

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Instances

Published text-tune combinations (hymns) from specific hymnals

Staa som en Klippe

Author: Brorson Hymnal: Salmebog for Lutherske Kristne i Amerika #244 (1919) Topics: Twenty sixth Sunday after Trinity Sunday Lyrics: 1 Staa som en Klippe, Du lille Herrens Flok! Lad alting flippe, I Ordet har du nok! Skin uden Kraften Er Kirkens største Pest, Du smage Saften, Og holde Frydefest, Mod Verdens Aften Bør Bruden pyntes bedst. 2 Glad vil jeg sige, O Verden, dig Farvel, Til Himmerige Bered dig nu, min Sjæl; Syng Frydesange, Og glæd dig mer og mer, Da nu ei mange Af Maaneskifter sker, Før man dig prange For, Lammets Throne ser! 3 O, uden Lige Forønskte Zions Slot! O, Himmerige, Der har min Sjæl det godt! Naar faar jeg Foden Paa Salems egen Grund? Naar Vand af Floden, Og Lammets Sang i Mund? Naar er jeg moden Til salig Afgangs Stund? Languages: Norwegian

Zions Vægter hæver Røsten

Author: Filip Nicolai; Landstad Hymnal: Salmebog for Lutherske Kristne i Amerika #571 (1919) Topics: Twenty sixth Sunday after Trinity Sunday Lyrics: 1 Zions Vægter hæver Røsten: Vaagn op, der blinker Lyn i Østen, Vaagn op, Guds Stad, Jerusalem! Midnats Mulm dig ruger over, Men Herrens Time slaar,– hvo sover? I klage Jomfruer, herfrem! Se, Herren kommer ned, Stat op, tag Lampen med! Lad den brænde! Paa Jesu Bud Stat op, gak ud! Han fører dig hjem til din Gud. 2 Zion Vægter-Raabet hører, En himmelsk Glæde Hjertet rører, Hun vaagner og staar freidig op. Herren kommer stor og prægtig, Af Naade stærk, af Sandhed mægtig; Nu rinder hendes Stjerne op! Ak, kom, du Krone skjøn, Min Jesus, du Guds Søn! Hosianna! Vi følge med! Du har bered En Bolig os i Evighed! 3 Ære være dig, du Høie! Ak Gud, hvad ser, hvad ser mit Øie! Rundt om din Throne Engle-Rad! Lyset er saa klart derinde, Og hver din Ven vi der gjenfinde Saa engleren og engleglad! Hvad intet Øie saa, Hvad aldrig Tanker naa, Der vi skue! Nu, Jord Farvel! Stig høit, min Sjæl, Følg Jesus ind til Glædens Væld! Languages: Norwegian

Bort Verden, af mit Sind og Øie

Author: Joh. Scheffler; Brorson Hymnal: Salmebog for Lutherske Kristne i Amerika #415 (1919) Topics: Twenty sixth Sunday after Trinity Sunday Lyrics: 1 Bort, Verden, af mit Sind og Øie, Din Lyst du selv beholde maa, Som mig ei mere kan fornøie End Støvet, som jeg træder paa! Hver elske, hvad hans Hu staar til, Jeg kun min Jesus elske vil. 2 Han er min Rigdom og min Ære, Min Hjertens Lyst og Tidsfordriv, I ham jeg ret kan salig være, Thi Jesus han er selv mit Liv. Hver elske, hvad hans Hu staar til, Jeg kun min Jesus elske vil. 3 Naar Munden Smag og Mæle mister, Og mumler mod den mørke Grav, Naar Øinene i Døden brister, Hvor bliver Verdens Lyst da af? Hver elske, hvad hans Hu staar til, Jeg kun min Jesus elske vil. 4 I Svaghed bliver han min Styrke, Og gjør mig al min Trængsel sød, Han er mit Lys i Dødens Mørke, Han sviger ei i Liv og Død. Hver elske, hvad hans Hu staar til, Jeg kun min Jesus elske vil. 5 Han hersker over alle Himle, Hans Throne i det Høie staar, Saa vidt som Skabninger de vrimle, Hans Herredom og Rige naar, Hver elske, hvad hans hu staar til, Jeg kun min Jesus elske vil. 6 Hans Slot kan ingen Magt bestride, det staar paa Evighedens Grund, Hans Fiender maa i Græsset bide, Naar han kun taler med sin Mund. Hver elske, hvad hans Hu staar til, Jeg kun min Jesus elske vil. 7 Hans Liflighed er uden Lige, Som Verden dog ei kjende vil, Hans Rigdom ingen kan udsige, Og, hvad han har, mig hører til. Hver elske, hvad hans Hu staar til, Jeg kun min Jesus elske vil. 8 Lad mig kun her foragtet være, Og leve i en ringe Stand, Jeg skal i Himlen Kronen bære, Og herske med min Frelsermand. Hver elske, hvad hans Hu staar til, Jeg kun min Jesus elske vil. Languages: Norwegian

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People

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Martin Rinkart

1586 - 1649 Topics: Twenty-sixth Sunday after Trinity Sunday For Evening Author of "Nu takker alle Gud " in M. B. Landstads Kirkesalmebog og "Nokre Salmar" ved Professor Dr. E. Blix, samt følgende tillæg Rinkart, Martin, son of Georg Rinkart or Rinckart, cooper at Eilenburg on the Mulde, Saxony, was born at Eilenburg, April 23, 1586.* After passing through the Latin school at Eilenburg, he became, in Nov., 1601, a foundation scholar and chorister of the St. Thomas's School at Leipzig. This scholarship also allowed him to proceed to the University of Leipzig, where he matriculated for the summer session of 1602, as a student of Theology; and after the completion of his course he remained for some time in Leipzig (he did not take his M.A. till 1616). In March 1610 he offered himself as a candidate for the post of diaconus at Eilenburg, and was presented by the Town Council, but the Superintendent refused to sanction this arrangement, nominally on the ground that Rinkart was a better musician than theologian, but really because he was unwilling to have a colleague who was a native of Eilenburg, and who appeared to have a will of his own. Rinkart, not wishing to contest the matter, applied for a vacant mastership in the gymnasium at Eisleben, and entered on his duties there in the beginning of June, 1610, as sixth master, and also cantor of the St. Nicholas Church. After holding this appointment for a few months, he became diaconus of St. Anne's Church, in the Neustadt of Eisleben, and began his work there May 28, 1611; and then became pastor at Erdeborn and Lyttichendorf (Lütjendorf), near Eisleben, entering on his duties there on Dec. 5, 1613. Finally he was invited by the Town Council of Eilenburg to become archidiaconus there, and in Nov. 1617 came into residence at Eilenburg. He died at Eilenburg, Dec. 8, 1649. A memorial tablet to his memory, affixed to the house where he lived, was unveiled at Eilenburg on Easter Monday, April 26, 1886. (Martin Rinkart’s Geistliche Lieder, ed., with a biographical introduction, and an extensive bibliography, by Heinrich Rembe and Johannes Linke, D.D., Gotha, F. A. Perthes, 1886; K. Goedeke's Grundris, vol. iii., 1887, pp. 169, 211, &c.) The greater part of Rinkart's professional life was passed amid the horrors of the Thirty Years War. Eilenburg being a walled town became a refuge for fugitives from all around, and being so overcrowded, not unnaturally suffered from pestilence and famine. During the great pestilence of 1637 the Superintendent went away for change of air, and could not be persuaded to return; and on Aug. 7 Rinkart had to officiate at the funerals of two of the town clergy and two who had had to leave their livings in the country. Rinkart thus for some time was the only clergyman in the place, and often read the service over some 40 to 50 persons a day, and in all over about 4,480. At last the refugees had to be buried in trenches without service, and during the whole epidemic some 8,000 persons died, including Rinkart's first wife, who died May 8, 1637. The next year he had an epidemic of marriages to encounter, and himself fell a victim on June 24. Immediately thereafter came a most severe famine, during which Rinkart's resources were strained to the uttermost to help his people. Twice also he saved Eilenburg from the Swedes, once in the beginning of 1637, and again in 1639 (see p. 319, i.). Unfortunately the services he rendered to the place seemed to have made those in authority the more ungrateful, and in his latter years he was much harassed by them in financial and other matters, and by the time that the long-looked-for peace came (Oct. 24, 1648) he was a worn-out and prematurely aged man. Rinkart was a voluminous writer and a good musician, but a considerable number of his books seem to have perished, and others survive only in single copies. He early began to write poetry, and was crowned as a poet apparently in 1614. Among other things he wrote a cycle of seven so-called "Comedies," or rather dramas, on the Reformation Period, suggested by the centenary of the Reformation in 1617. Three of these were printed respectively in 1613, 1618, and 1625, and two of them were acted in public. Rinkart's hymns appeared principally in the following works:— (1) Jesu Hertz-Büchlein. This was completed in 1630, and first published at Leipzig in 1636. No copy is now known. The second edition, published at Leipzig, 1663, is in the Royal Library at Hannover. (2) Der Meissnische Thränen Saat, Leipzig, 1637. In the Royal Library at Berlin. (3) xlv. Epithalami Salomoneo—Sulamitici cantica canticorum . . . Leibliche Geistliche und Uimmlische Braut Messe, Leipzig, 1642. In Wolfenbüttel Library. (4) Catechismus-wolthaten, und Catechismus-Lieder, Leipzig, 1645. In the Berlin Library. Dr. Linke, 1886, as above, gives a list of the first lines of all the hymns in the works of Rinkart which have come under his notice, and prints a selection from them, including 66 in all. The best of them are characterised by a true patriotism, a childlike devotion to God, and a firm confidence in God's mercy, and His promised help and grace. A few passed into the German hymn-books. Those which have been translated into English are:— 1. Alleluja, Lob, Preis und Ehr. This hymn… seems to be based on two hymns, beginning with the same first line, and both found in Rinkart's Braut Messe, 1642. Dr. Linke does not print the full text. (See Blätter für Hymnologie, 1886, p. 91.) ii. Nun danket alle Gott. Thanksgiving. The oldest text now accessible is in J. Crüger's Praxis, 1648, No. 183, in 3 stanzas of 8 lines; also in the Crüger-Runge Gesang-Buch, 1653, No. 187. It is also in Rinkart's Jesu Hertz-Büchlein, 1663, where the text slightly varies, and is entitled "Grace" ("Tisch-Gebetlein," i.e. a short prayer at table). There does not seem any good reason for supposing that it did not appear in the first ed., 1636, of the Hertz-Büchlein, and in any case it has no connection with the Peace of Westphalia. (A good specimen of the way in which stories of hymns are manufactured is in the Sunday at Home, Aug., 1888, p. 539, where a full and particular account is given of its legendary origin in Nov. 1648.) It is founded on Ecclesiasticus 1. 22-24; and st. i., ii. are indeed little more than a paraphrase of these verses, st. iii. being a version of the Gloria Patri. The fact that the regimental chaplains, when holding the special service of thanksgiving for the conclusion of the peace, were commanded to preach from this passage, may have suggested the theory that Rinkart's hymn was written for the same occasion. It gradually came into general use, successfully survived the period of Rationalism, and is now to be found in every German hymnbook, e.g. in the Berlin Geistliche Lieder, ed. 1863, No. 1022. It may be called the German Te Deum, and as such is used at all national festivals or special occasions of thanksgiving. It was recently used at the festal celebration of the completion of Cologne Cathedral, on Aug. 14, 1880, at the laying of the foundation stone of the new Reichstags building in Berlin, by the Emperor William, June 9, 1884, &c. The fine melody (set to the hymn in Hymns Ancient & Modern and most recent English collections) appears in the Praxis, 1648 (Crüger's Kirchenmelodien, 1649, No. 94), and in the Crüger-Runge Gesang-Buch, 1653, is marked with Crüger's initials. It has been described as adapted from a melody by Lucas Marenzo (choirmaster at Rome, who died 1598), or as adapted from a motet by Rinkart; but to prove either statement, very little evidence is forthcoming. The translations of the hymn into English are:— 1. Let all men praise the Lord. This is a tr. of st. i., iii., by Alfred Novello, as part of his version of the word-book to Mendelssohn's Lobgesang, or Hymn of Praise, 1843, p. 89. This form has passed into a number of hymnals, including the New Congregational Hymn Book, 1859; Dale's English Hymn Book 1874, and others. In the Baptist Hymnal, 1879, a tr. of st. ii. is added, of which 11. 1—4 are from Miss Winkworth's translation. 2. Now praise the Lord on high. In full as No. 53 in the Dalston Hospital Hymn Book, 1848. This appears to be the version which Kübler, in his Historical Notes to the Lyra Germanica, 1865, p. 247, says was made by Baron C. K. J. von Bunsen, for the opening of the German Hospital at Dalston, on Oct. 15, 1845. 3. Now let us all to God. In full, by A. T. Russell, as No. 201, in his Psalms & Hymns, 1851. 4. 0 let us praise the Lord, From hearts by true love guided. This is No. 240 in the Winchester Church Hymn Book, 1857, and seems to be intended as a paraphrase of the German. 5. Now thank we all our God. A full and very good translation by Miss Winkworth, in her Lyra Germanica, 2nd Serv. 1858, p. 145, repeated in her Chorale Book for England, 1863, No. 11, and her Christian Singers, 1869, p. 181. It has been included in many recent English and American hymnals, e. g. Hymns Ancient & Modern, 1861; People's Hymnal, 1867; Congregational Hymnal, 1887, &c, and in America in the Episcopal Hymnal, 1871; Presbyterian Hymnal, 1874, and many others, generally in full and unaltered. 6. Now all give thanks to God. In full as No. 264 in the Anglican Hymn Book, 1868 (1871, No. 307), marked as a versification by R. C. Singleton. Repeated in J. L. Porter's Collection, 1876. 7. Now all men thank ye God. In full by T. E. Brown, as No. 37 in the Clifton College Hymn Book, 1872. Other translations are:— (l) "Now let us praise the Lord." In full by J. C. Jacobi, 1722, p. 85 (1732, p. 144), repeated, altered, in the Moravian Hymn Book, 1754 to 1886. (2) "Now all, to God give thanks." By Dr. H. Mills, in the Evangelical Review, Gettysburg, 1851, p. 293, and his Horae Germanica, 1856, p. 14. (3) "Lift heart, and hands, and voice." By Miss Cox, 1864, p. 239. (4) “Now all give thanks to God." By J. D. Burns, 1869, p. 252. (5) “All hearts and tongues and hands." By N. L. Frothingham, 1870, p. 212. iii. So fahr ich hin mit Freuden. For the Dying. In his Meissnische Thränen-Saat, 1637, No. 24, p. 19, in 5 st.anzas of 8 lines, entitled "Even the same, and her soul-rejoicing Farewell Hymn. On May 8." St. i. is, "So fahr ich hin mit Frewden Aus diesem Jammerthal, Aus Angst, Gefahr und Leiden In Himmels-Frewden Saal, Da wir und alle Frommen Durch Gottes Wundermacht Zusaminen wiederkominen: In des zu guter Nacht." The title refers to the preceding hymn, which is in 19 stanzas, the initials of the stanzas forming the acrostic Christina Rinckardi. Dr. Linke abridges it and misprints the title, which is:— "Die Teutsche Jobs-Schwester (Christina M. Rinckart's Hertzgetrewe Ehe- und Creutz-genossin) und ihr Tagliches und behägliches Trost Lied. Aus ihrem längst erwählten und am 10. [not 30] Tage des Trosthühlen Meyen dieses 1637. Jahres zum letzten Ehrengedächtniss abgehandelten Leich-Text: des 77. Psalms." From this it is clear that both hymns are in memory of his wife, that she died on May 8, 1637, and that her funeral sermon was preached by her husband on May 10, 1637. The form translation into English is the greatly altered, or rather practically new text. [Rev. James Mearns, M.A.] * His own statement was that he “was born Anno 1586, Jubilate Sunday, on St. George's day, which was the 23rd of April, between 6 and 7 a.m." In 1586 however Jubilate S. (3rd Sunday after Easter) fell on April 24, while St. George's day is April 23. The entry in the Registers at Eilenburg says that he was baptised "Monday after Jubilate, the 25th of April," which is quite correct. --John Julian, Dictionary of Hymnology (1907)

Anonymous

Person Name: Ukj. Topics: Twenty-sixth Sunday after Trinity Sunday For Evening Translator of "Nu takker alle Gud " in M. B. Landstads Kirkesalmebog og "Nokre Salmar" ved Professor Dr. E. Blix, samt følgende tillæg 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.

Orlando Gibbons

1583 - 1625 Topics: The Church Year Twenty-sixth Sunday after Trinity; The Church Year Twenty-sixth Sunday after Trinity Composer of "[Come, ye weary sinners, come]" in The Lutheran Hymnary 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

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