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[Herr, bleibe bei uns]

Appears in 2 hymnals Composer and/or Arranger: Albert Thate Tune Key: F Major or modal Incipit: 55565 53234 32311

Author: Joseph Gelineau Appears in 1 hymnal First Line: Stay with us, Savior, for ev'ning is coming Topics: Parting and Benediction; Rounds and Canons Scripture: Luke 24:29 Used With Tune: [Stay with us, Savior, for ev'ning is coming) Text Sources: German

Herr, bleibe bei uns

Appears in 1 hymnal Lyrics: Herr, bleibe bei uns; denn es will Abend werden, und der Tag hat sich geneiget. Herr, bleibe bei uns; denn es will Abend werden, und der Tag hat sich geneiget. Topics: Glaube - Liebe - Hoffnung Abend Scripture: Luke 24:29 Used With Tune: [Herr, bleibe bei uns]

Instances

Published text-tune combinations (hymns) from specific hymnals

Herr, bleibe bei uns

Hymnal: Antwort Finden in alten und neuen Liedern, in Worten zum Nachdenken und Beten #483 (2014) Lyrics: Herr, bleibe bei uns; denn es will Abend werden, und der Tag hat sich geneiget. Herr, bleibe bei uns; denn es will Abend werden, und der Tag hat sich geneiget. Topics: Glaube - Liebe - Hoffnung Abend Scripture: Luke 24:29 Languages: German Tune Title: [Herr, bleibe bei uns]

Stay with Us, Savior

Author: Joseph Gelineau Hymnal: Sing and Rejoice! #121 (1979) First Line: Stay with us, Savior, for ev'ning is coming Topics: Parting and Benediction; Rounds and Canons Scripture: Luke 24:29 Languages: English Tune Title: [Stay with us, Savior, for ev'ning is coming)

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Authors, composers, editors, etc.

Joseph Gelineau

1920 - 2008 Translator (into French) of "Stay with Us, Savior" in Sing and Rejoice! Joseph Gelineau (1920-2008) Gelineau's translation and musical settings of the psalms have achieved nearly universal usage in the Christian church of the Western world. These psalms faithfully recapture the Hebrew poetic structure and images. To accommodate this structure his psalm tones were designed to express the asymmetrical three-line/four-line design of the psalm texts. He collaborated with R. Tournay and R. Schwab and reworked the Jerusalem Bible Psalter. Their joint effort produced the Psautier de la Bible de Jerusalem and recording Psaumes, which won the Gran Prix de L' Academie Charles Cros in 1953. The musical settings followed four years later. Shortly after, the Gregorian Institute of America published Twenty-four Psalms and Canticles, which was the premier issue of his psalms in the United States. Certainly, his text and his settings have provided a feasible and beautiful solution to the singing of the psalms that the 1963 reforms envisioned. Parishes, their cantors, and choirs were well-equipped to sing the psalms when they embarked on the Gelineau psalmody. Gelineau was active in liturgical development from the very time of his ordination in 1951. He taught at the Institut Catholique de Paris and was active in several movements leading toward Vatican II. His influence in the United States as well in Europe (he was one of the founding organizers of Universa Laus, the international church music association) is as far reaching as it is broad. Proof of that is the number of times "My shepherd is the Lord" has been reprinted and reprinted in numerous funeral worship leaflets, collections, and hymnals. His prolific career includes hundreds of compositions ranging from litanies to responsories. His setting of Psalm 106/107, "The Love of the Lord," for assembly, organ, and orchestra premiéred at the 1989 National Association of Pastoral Musicians convention in Long Beach, California. --www.giamusic.com