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Libro de Liturgia y Cántico
Publication Date: 1998 Publisher: Augsburg Fortress Publication Place: Minneapolis
Libro de Liturgia y Cántico
A Dios gloria, alabanza (Give praise to God)
Author: A. Martorell; Gracia Grindal Appears in 1 hymnal First Line: A Dios gloria, alabanza, que todo lo creó (Give praise to God, creator, who made the earth and heav'n) Refrain First Line: ¡Que Dios sea alabado por su infinito amor! (Sing praise to God who loves us in all all eternity) Topics: Alabanza Used With Tune: [A Dios gloria, alabanza, que todo lo creó]
A Dios gloria, alabanza (Give praise to God)
¡Santo, santo, santo!
Author: Reginald Heber; Juan Bautista Cabrera Appears in 42 hymnals First Line: ¡Santo, santo, santo! Señor omnipotente Lyrics: 1 ¡Santo, santo, santo! Señor omnipotente,
siempre el labio mío loores te dará.
¡Santo, santo, santo! te adoro reverente,
Dios en tres personas, bendita Trinidad.
2 ¡Santo, santo, santo! En numeroso coro
santos escogidos te adoran con fervor;
de alegria llenos, y sus coronas de oro
rinden ante el trono glorioso de Señor.
3 ¡Santo, santo, santo! La inmensa muchedumbre
de ángeles que cumplen tu santa voluntad,
ante ti se postra, bañada con tu lumbre,
ante ti que has sido, que eres y serás.
4 ¡Santo, santo, santo! Por más que estés velado
e imposible sea tu gloria contemplar;
santo tú eres sólo, y nada hay a tu lado
en poder perfecto, pureza y caridad.
5 ¡Santo, santo, santo! La gloria de tu nombre
vemos en tus obras, en cielo, tierra y mar.
¡Santo, santo, santo! La humanidad te honre,
Dios en tres personas, bendita Trinidad. Topics: Pentecostés Used With Tune: [¡Santo, santo, santo! Señor omnipotente]
¡Santo, santo, santo!
Me hirió el pecado (En la cruz)
Author: Isaac Watts; Ralph E. Hudson; Pedro Grado Valdes Appears in 19 hymnals First Line: Me hirió el pecado, fui a Jesús Refrain First Line: En la cruz, en la cruz Lyrics: 1 Me hirió el pecado, fui a Jesús,
mostréle mi dolor;
perdido, errante, vi su luz,
bendíjome en su amor.
Estribillo:
En la cruz, en la cruz
do primero i la luz,
y las manchas di mi alma yo lavé;
fue allí por fe do vi a Jesús,
y siempre feliz con él seré.
2 Sobre una cruz, mi buen Señor
su sangre derramó
por ests pobre pecador
a quien así salvó. [Estribillo]
3 Venció la muerte con poder,
y al cielo se exaltó;
confiar en él es mi placer,
morir no temo yo. [Estribillo]
4 Aunque él se fue, solo no estoy,
mandó al consolador,
divino Espíritu que hoy,
me da perfecto amor. [Estribillo] Topics: Arrepentimiento, Perdon Used With Tune: [Me hirió el pecado, fui a Jesús]
Me hirió el pecado (En la cruz)
[¡Noche de paz, noche de amor!]
Appears in 635 hymnals Composer and/or Arranger: Franz Gruber Tune Key: B Flat Major Incipit: 56535 65322 77115 Used With Text: Noche de paz
[¡Noche de paz, noche de amor!]
[A dios el Padre celestial]
Appears in 1,882 hymnals Composer and/or Arranger: Louis Bourgeois Tune Key: G Major or modal Incipit: 11765 12333 32143 Used With Text: A Dios el Padre celestial
[A dios el Padre celestial]
[Grande gozo hay en mi alma hoy]
Appears in 262 hymnals Composer and/or Arranger: John R. Sweney Tune Key: A Flat Major Incipit: 12356 71233 43252 Used With Text: Grande gozo hay en mi alma
[Grande gozo hay en mi alma hoy]
Señor, ten piedad
Hymnal: LLC1998 #181 (1998) First Line: En paz, oremos al Señor Topics: Canticos Liturgicos Santa Comunion Languages: Spanish Tune Title: [En paz, oremos al Señor]
Señor, ten piedad
Señor, ten piedad
Hymnal: LLC1998 #182 (1998) First Line: En paz oremos al Señor Topics: Canticos Liturgicos Santa Comunion Languages: Spanish Tune Title: [En paz oremos al Señor]
Señor, ten piedad
Joseph Mohr
1792 - 1848 Hymnal Number: 301 Author of "Noche de paz" in Libro de Liturgia y Cántico Joseph Mohr was born into a humble family–his mother was a seamstress and his father, an army musketeer. A choirboy in Salzburg Cathedral as a youth, Mohr studied at Salzburg University and was ordained in the Roman Catholic Church in 1815. Mohr was a priest in various churches near Salzburg, including St. Nicholas Church. He spent his later years in Hintersee and Wagrein.
Bert Polman
=================
Mohr, Joseph, was born at Salzburg, Austria, on Dec. 11, 1792. After being ordained priest on Aug. 21, 1815, by the Roman Catholic Bishop of Salzburg, he was successively assistant at Ramsau and at Laufen; then coadjutor at Kuchl, at Golling, at Vigaun, at Adnet, and at Authering; then Vicar-Substitute at Hof and at Hintersee--all in the diocese of Salzburg. In 1828 he was appointed Vicar at Hintersee, and in 1837 at Wagrein, near St. Johann. He died at Wagrein, Dec. 4, 1848. The only hymn by him translated into English is:—
Stille Nacht! heilige Nacht! Christmas. This pretty little carol was written for Christmas, 1818, while Mohr was assistant clergyman at Laufen, on the Salza, near Salzburg, and was set to music (as in the Garland of Songs) by Franz Gruber, then schoolmaster at the neighbouring village of Arnsdorf (b. Nov. 25, 1787, at Hochburg near Linz, died June 7, 1863, as organist at Hallein, near Salzburg). What is apparently the original form is given by 0. Kraus, 1879, p. 608, in 3 stanzas of 6 lines, and in Dr. Wichern's Unsere Lieder, Hamburg, 1844, No. 111. Another form, also in 3 stanzas of 6 lines, is in T. Fliedner's Lieder-Buch für Kleinkinder-Schulen, Kaiserswerth, 1842, No. 115, and the Evangelical Kinder Gesang-Buch, Basel, 1867. The translations are from the text of 1844.
1. Holy night! peaceful night! All is dark. By Miss J. M. Campbell in C. S. Bere's Garland of Songs, 1863, and thence in Hymns & Carols, London, 1871.
2. Silent night! hallowed night. Land and deep. This is No. 131 in the Christian Hymn Book, Cincinnati, 1865. It is suggested by, rather than a translation of the German.
3. Holy night! peaceful night! Through the darkness. This is No. 8 in J. Barnby's Original Tunes to Popular Hymns, Novello, N. D., 1869; repeated in Laudes Domini, N.Y., 1884, No. 340.
4. Silent night! holy night! All is calm. This is in C. L. Hutchins's Sunday School Hymnal, 1871 (1878, p. 198), and the Sunday School Hymn Book of the Gen. Council of the Evangelical Lutheran Church in America, 1873, No. 65.
5. Peaceful night, all things sleep. This is No. 17, in Carols for St Stephen's Church, Kirkstall, Leeds, 1872.
6. Silent night, holiest night. All asleep. By Dr. A. Edersheim, in the Sunday at Home, Dec. 18, 1875, repeated in the Church Sunday School Hymn Book, 1879, No. 35.
7. Silent night! holy night! Slumber reigns. By W. T. Matson, as No. 132, in Dr. Allon's Children's Worship, 1878.
8. Still the night, holy the night! Sleeps the world. By Stopford A. Brooke, in his Christian Hymns, 1881, No. 55.
Translations not in common use:--
(1) "Stilly night, Holy night, Silent stars," by Miss E. E. S. Elliott, privately printed for the choir of St. Mark's, Brighton, about 1858, but first published in the Church Missionary Juvenile Instructor, 1871, p. 198. Also in her Tune Book for Under the Pillow, 1880. (2) "Holy night! calmly bright," by Mary D. Moultrie in Hymns & Lyrics by Gerard Moultrie, 1867, p. 42. (3) "Silent night, holiest night! Moonbeams," by C. T. Brooks, In his Poems, Boston, U. S., 1885, p. 218. [Rev. James Mearns, M.A.]
--John Julian, Dictionary of Hymnology (1907)
================
Mohr, Joseph, p. 760, ii. The translation "Stilly night, starry and bright," in Farmer's Glees & Songs for High Schools, 1881, p. 36, is by Archdeacon Farrar.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
See also in:
Hymn Writers of the Church
Joseph Mohr
Reginald Heber
1783 - 1826 Hymnal Number: 371 Author of "¡Santo, santo, santo!" in Libro de Liturgia y Cántico Reginald Heber was born in 1783 into a wealthy, educated family. He was a bright youth, translating a Latin classic into English verse by the time he was seven, entering Oxford at 17, and winning two awards for his poetry during his time there. After his graduation he became rector of his father's church in the village of Hodnet near Shrewsbury in the west of England where he remained for 16 years. He was appointed Bishop of Calcutta in 1823 and worked tirelessly for three years until the weather and travel took its toll on his health and he died of a stroke. Most of his 57 hymns, which include "Holy, Holy, Holy," are still in use today.
-- Greg Scheer, 1995
====================
Heber, Reginald, D.D. Born at Malpas, April 21, 1783, educated at Brasenose College, Oxford; Vicar of Hodnet, 1807; Bishop of Calcutta, 1823; died at Trichinopoly, India, April 3, 1826. The gift of versification shewed itself in Heber's childhood; and his Newdigate prize poem Palestine, which was read to Scott at breakfast in his rooms at Brazenose, Oxford, and owed one of its most striking passages to Scott's suggestion, is almost the only prize poem that has won a permanent place in poetical literature. His sixteen years at Hodnet, where he held a halfway position between a parson and a squire, were marked not only by his devoted care of his people, as a parish priest, but by literary work. He was the friend of Milman, Gifford, Southey, and others, in the world of letters, endeared to them by his candour, gentleness, "salient playfulness," as well as learning and culture. He was on the original staff of The Quarterly Review; Bampton Lecturer (1815); and Preacher at Lincoln's Inn (1822). His edition of Jeremy Taylor is still the classic edition. During this portion of his life he had often had a lurking fondness for India, had traced on the map Indian journeys, and had been tempted to wish himself Bishop of Calcutta. When he was forty years old the literary life was closed by his call to the Episcopate. No memory of Indian annals is holier than that of the three years of ceaseless travel, splendid administration, and saintly enthusiasm, of his tenure of the see of Calcutta. He ordained the first Christian native—Christian David. His first visitation ranged through Bengal, Bombay, and Ceylon; and at Delhi and Lucknow he was prostrated with fever. His second visitation took him through the scenes of Schwartz's labours in Madras Presidency to Trichinopoly, where on April 3,1826, he confirmed forty-two persons, and he was deeply moved by the impression of the struggling mission, so much so that “he showed no appearance of bodily exhaus¬tion." On his return from the service
”He retired into his own room, and according to his invariable custom, wrote on the back of the address on Confirmation 'Trichinopoly, April 3, 1826.' This was his last act, for immediately on taking off his clothes, he went into a large cold bath, where he had bathed the two preceding mornings, but which was now the destined agent of his removal to Paradise. Half an hour after, his servant, alarmed at his long absence, entered the room and found him a lifeless corpse." Life, &c, 1830, vol. ii. p. 437.
Heber's hymns were all written during the Hodnet period. Even the great missionary hymn, "From Greenland's icy mountains," notwithstanding the Indian allusions ("India's coral strand," "Ceylon's isle"), was written before he received the offer of Calcutta. The touching funeral hymn, "Thou art gone to the grave," was written on the loss of his first babe, which was a deep grief to him. Some of the hymns were published (1811-16) in the Christian Observer, the rest were not published till after his death. They formed part of a ms. collection made for Hodnet (but not published), which contained, besides a few hymns from older and special sources, contributions by Milman. The first idea of the collection appears in a letter in 1809 asking for a copy of the Olney Hymns, which he "admired very much." The plan was to compose hymns connected with the Epistles and Gospels, to be sung after the Nicene Creed. He was the first to publish sermons on the Sunday services (1822), and a writer in The Guardian has pointed out that these efforts of Heber were the germs of the now familiar practice, developed through the Christian Year (perhaps following Ken's Hymns on the Festivals), and by Augustus Hare, of welding together sermon, hymnal, and liturgy. Heber tried to obtain from Archbishop Manners Sutton and the Bishop of London (1820) authorization of his ms. collection of hymns by the Church, enlarging on the "powerful engine" which hymns were among Dissenters, and the irregular use of them in the church, which it was impossible to suppress, and better to regulate. The authorization was not granted. The lyric spirit of Scott and Byron passed into our hymns in Heber's verse; imparting a fuller rhythm to the older measures, as illustrated by "Oh, Saviour, is Thy promise fled," or the martial hymn, "The Son of God goes forth to war;" pressing into sacred service the freer rhythms of contemporary poetry (e.g. "Brightest and best of the sons of the morning"; "God that madest earth and heaven"); and aiming at consistent grace of literary expression.. Their beauties and faults spring from this modern spirit. They have not the scriptural strength of our best early hymns, nor the dogmatic force of the best Latin ones. They are too flowing and florid, and the conditions of hymn composition are not sufficiently understood. But as pure and graceful devotional poetry, always true and reverent, they are an unfailing pleasure. The finest of them is that majestic anthem, founded on the rhythm of the English Bible, "Holy, Holy, Holy, Lord God Almighty." The greatest evidence of Heber's popularity as a hymnwriter, and his refined taste as a compiler, is found in the fact that the total contents of his ms. collection which were given in his posthumous Hymns written and adapted to the Weekly Church Service of the Year. London, J. Murray, 1827; which included 57 hymns by Heber, 12 by Milman, and 29 by other writers, are in common in Great Britain and America at the present time. [Rev. H. Leigh Bennett, M.A.]
Of Bishop Heber's hymns, about one half are annotated under their respective first lines. Those given below were published in Heber's posthumous Hymns, &c, 1827. Some of them are in extensive use in Great Britain and America; but as they possess no special histories they are grouped together as from the Hymns, &c, 1827:—
1. Beneath our feet, and o'er our head. Burial.
2. Creator of the rolling flood. St. Peter's Day, or, Gospel for 6th Sunday after Trinity.
3. Lo, the lilies of the field. Teachings of Nature: or, Gospel for 15th Sunday after Trinity.
4. 0 God, by Whom the seed is given. Sexagesima.
6. 0 God, my sins are manifold. Forgiveness, or,
Gospel for 22nd S. after Trinity.
6. 0 hand of bounty, largely spread. Water into Wine, or, Gospel for 2nd S. after Epiphany.
7. 0 King of earth, and air, and sea. Feeding the Multitude; or, Gospel for 4th S. in Lent.
8. 0 more than merciful, Whose bounty gave. Good Friday.
9. 0 most merciful! 0 most bountiful. Introit Holy Communion.
10. 0 Thou, Whom neither time nor space. God unsearchable, or, Gospel for 5th Sunday in Lent.
11. 0 weep not o'er thy children's tomb. Innocents Day.
12. Room for the proud! Ye sons of clay. Dives and Lazarus, or, Gospel for 1st Sunday after Trinity.
13. Sit thou on my right hand, my Son, saith the Lord. Ascension.
14. Spirit of truth, on this thy day. Whit-Sunday.
15. The feeble pulse, the gasping breath. Burial, or, Gospel for 1st S. after Trinity.
16. The God of glory walks His round. Septuagesima, or, the Labourers in the Marketplace.
17. The sound of war in earth and air. Wrestling against Principalities and Powers, or, Epistle for 2lst Sunday after Trinity.
18. The world is grown old, her pleasures are past. Advent; or, Epistle for 4th Sunday in Advent.
19. There was joy in heaven. The Lost Sheep; or, Gospel for 3rd S. after Trinity.
20. Though sorrows rise and dangers roll. St. James's Day.
21. To conquer and to save, the Son of God. Christ the Conqueror.
22. Virgin-born, we bow before Thee. The Virgin Mary. Blessed amongst women, or, Gospel for 3rd S. in Lent.
23. Wake not, 0 mother, sounds of lamentation. Raising the Widow's Son, or, Gospel for 16th S. after Trinity.
24. When on her Maker's bosom. Holy Matrimony, or, Gospel for 2nd S. after Epiphany.
25. When through the torn sail the wild tempest is streaming. Stilling the Sea, or, Gospel for 4th Sunday after Epiphany.
26. Who yonder on the desert heath. The Good Samaritan, or, Gospel for 13th Sunday after Trinity.
This list is a good index of the subjects treated of in those of Heber's hymns which are given under their first lines, and shows that he used the Gospels far more than the Epistles in his work.
--John Julian, Dictionary of Hymnology (1907)
Reginald Heber
Charlotte Elliott
1789 - 1871 Hymnal Number: 445 Author of "Tal como soy de pecador" in Libro de Liturgia y Cántico Elliott, Charlotte, daughter of Charles Elliott, of Clapham and Brighton, and granddaughter of the Rev. H. Venn, of Huddersfield, was born March 18, 1789. The first 32 years of her life were spent mostly at Clapham. In 1823 she removed to Brighton, and died there Sept. 22, 1871. To her acquaintance with Dr. C. Malan, of Geneva, is attributed much of the deep spiritual-mindedness which is so prominent in her hymns. Though weak and feeble in body, she possessed a strong imagination, and a well-cultured and intellectual mind. Her love of poetry and music was great, and is reflected in her verse. Her hymns number about 150, a large percentage of which are in common use. The finest and most widely known of these are, "Just as I am” and "My God, my Father, while I stray." Her verse is characterized by tenderness of feeling, plaintive simplicity, deep devotion, and perfect rhythm. For those in sickness and sorrow she has sung as few others have done. Her hymns appeared in her brother's Psalms & Hymns and elsewhere as follows:—
(1) Psalms and Hymns for Public, Private, and Social Worship; selected by the Rev. H. V. Elliott, &c., 1835-48. In this Selection her signature is "C. E." (2) The Christian Remembrancer Pocket Book. This was originally edited by Miss Kiernan, of Dublin. Miss Elliott undertook the editorship in 1834. (3) The Invalid's Hymn Book. This was originally compiled by Miss Kiernan, but before publication was re-arranged by Miss Elliott, who also added 23 hymns in the first edition., 1834. These were increased in the following edition to the sixth in 1854, when her contributions amounted to 112. From that date no change was made in the work. (4) Hours of Sorrow Cheered and Comforted; or, Thoughts in Verse, 1836. (5) Morning and Evening Hymns for a Week, printed privately in 1839 for sale for a benevolent institution in Brighton, and published in 1842. (6) Thoughts in Verse on Sacred Subjects, 1869.
Miss Elliott's Poems were published, with a Memoir by her sister, Mrs. Babington, in 1873, and an additional volume of Leaves from her unpublished Journals and Poems, also appeared in 1870.
In addition to her more important hymns, which are annotated under their respective first lines, there are in common use:—
i. From The Invalid's Hymn-book, 1834-1841:—
1. Clouds and darkness round about thee. (1841.) Resignation.
2. Not willingly dost Thou afflict [reject]. (1841.) Divine Chastisement.
3. O God, may I look up to Thee. (1841.) Teach us to Pray.
4. This is enough; although 'twere sweet. (1834.) On being debarred from Divine Worship.
5. With tearful eyes I look around. (1841.) The Invitation "Come Unto Me."
ii. From H. V. Elliott's Psalms & Hymns, 1835-1839:—
6. Glorious was that primal light. Christmas.
7. Hail, holy day, most blest, most dear. Easter.
8. My only Saviour, when I feel. Jesus His people's Rest.
9. Now let our heavenly plants and flowers. Monday Morning.
10. The Sabbath-day has reached its close. Sunday Evening.
iii. From Miss Elliott's Hours of Sorrow, 1836:—
11. Father, when Thy child is dying. Prayer for a Departing Spirit.
12. Leaning on Thee, my Guide, my Friend. Death Anticipated.
13. My God, is any hour so sweet? The Hour of Prayer.
14. O faint and feeble-hearted. Resignation enforced.
15. There is a holy sacrifice. The Contrite Heart.
iv. From her Hymns for a Week, 1839:—
16. Guard well thy lips; none, none can know. Thursday Morning.
17. There is a spot of consecrated ground. Pt. i.
18. This is the mount where Christ's disciples see. Pt. ii. Monday Evening.
19. This is the day to tune with care. Saturday Morning.
v. From Thoughts in Verse on Sacred Subjects, 1869:—
20. As the new moons of old were given. On a Birthday.
21. I need no other plea. Pt. i.
22. I need no prayers to saints. Pt. ii. Christ, All in All.
23. Jesus, my Saviour, look on me. Christ, All in All.
Several of the earlier of these hymns were repeated in the later works, and are thus sometimes attributed to the wrong work. [Rev. James Davidson, B.A.]
-- John Julian, Dictionary of Hymnology (1907)
================
Elliott, Charlotte, p. 328, i. Other hymns are:—
1. O how I long to reach my home. Heaven desired. From the Invalid's Hymn Book, 1834.
2. The dawn approaches, golden streaks. Second Advent. From Thoughts in Verse, &c, 1869.
Of her hymns noted on p. 328, Nos. 6, 7, 8, 9, 10,11, and 13, all appeared in the 1st edition of Elliott's Psalms & Hymns, 1835.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
========================
Elliott, Charlotte, pp. 328, i.; 1561, ii. Further research enables us to give amended dates to some of her hymns as follows:—
1. With tearful eyes I look around (No. 5). This is in the 1835 Appendix to The Invalid's Hymn Book.
2. My only Saviour, when I feel (No. 8). Also in the 1835 Appendix.
3. Father, when Thy child is dying (No. 11). In the 1833 Appendix.
4. I want that adorning divine, p. 559, i. In the Christian Remembrancer 1848, p. 22.
--John Julian, Dictionary of Hymnology, New Supplement (1907)
Charlotte Elliott
