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Psalm 47
Author: Isaac Watts Meter: 8.6.8.6 Appears in 207 hymnals Scripture: Psalm 47 First Line: O for a shout of sacred joy Lyrics:
O for a shout of sacred joy
To God the sovereign King!
Let every land their tongues employ,
And hymns of triumph sing.
Jesus our God ascends on high,
His heav'nly guards around
Attend him rising through the sky,
With trumpets' joyful sound.
While angels shout and praise their King,
Let mortals learn their strains;
Let all the earth his honors sing;
O'er all the earth he reigns.
Rehearse his praise with awe profound,
Let knowledge lead the song,
Nor mock him with a solemn sound
Upon a thoughtless tongue.
In Isr'el stood his ancient throne,
He loved that chosen race;
But now he calls the world his own,
And heathens taste his grace.
The British islands are the Lord's,
There Abraham's God is known;
While powers and princes, shields and swords,
Submit before his throne.
Topics: Ascension of Christ; Church of the Gentiles; Gentiles owning the true God
Psalm 47
Dios asciende entre aclamaciones (God mounts his throne to shouts of joy)
Appears in 10 hymnals Scripture: Psalm 47 Topics: Ascension of the Lord ABC; Ascensión del Señor ABC Used With Tune: [Dios asciende entre aclamaciones]
Dios asciende entre aclamaciones (God mounts his throne to shouts of joy)
Come, Thou Almighty King
Author: Anonymous Meter: 6.6.4.6.6.6.4 Appears in 1,787 hymnals Scripture: Psalm 47:7-8 Topics: Doxologies and Glorias; Gathering; Holy Trinity; Kingdom of God; Music and Singing; Pulpit Hymns; Word and Teaching Used With Tune: ITALIAN HYMN
Come, Thou Almighty King
GENEVAN 47
Meter: 5.5.5.5.5.5 D Appears in 8 hymnals Composer and/or Arranger: Louis Bourgeois; Claude Goudimel Scripture: Psalm 47 Tune Key: D Major Incipit: 53123 43221 55671 Used With Text: Nations, Clap Your Hands
GENEVAN 47
ITALIAN HYMN
Meter: 6.6.4.6.6.6.4 Appears in 1,292 hymnals Composer and/or Arranger: Felice de Giardini, 1716-1796; James P. Davies, 1913- Scripture: Psalm 47:7-8 Tune Key: F Major Incipit: 53121 71123 45432 Used With Text: Come, Thou Almighty King
ITALIAN HYMN
CLAP YOUR HANDS
Meter: Irregular Appears in 9 hymnals Composer and/or Arranger: Jimmy Owens; Dale Grotenhuis Scripture: Psalm 47:1 Tune Key: C Major Used With Text: Clap Your Hands
CLAP YOUR HANDS
King of Nations
Author: Watts Hymnal: Psalms, Hymns and Spiritual Songs #LX (1792) Meter: 8.8.8.8 Scripture: Psalm 47:6-7 First Line: Jesus shall reign where'er the sun Lyrics: 1 Jesus shall reign where'er the sun
Does his successive journeys run;
His kingdom stretch from shore to shore,
Till moons shall wax and wane no more.
2 Behold the islands, with their kings,
And Europe her best tribute brings;
From north to south the princes meet,
To pay their homage at his feet.
3 There Persia, glorious to behold,
There India, shines in eastern gold;
And barb'rous nations at his word
Submit, and bow, and own their Lord.
4 For him shall endless pray'r be made,
And praises throng to crown his head;
His name like sweet perfume shall rise
With ev'ry morning sacrifice.
5 People and realms of ev'ry tongue
Dwell on his love with sweetest song;
And infant voices shall proclaim
Their early blessings on his name.
6 Blessings abound where'er he reigns;
The pris'ner leaps to lose his chains;
The weary find eternal rest,
And all the sons of want are blest.
7 Where he displays his healing pow'r
Death and the curse are known no more;
In him the tribes of Adam boast
More blessings than their father lost.
8 Let ev'ry creature rise and bring
Peculiar honours to their King;
Angels descend with songs again,
And earth repeat the long Amen. Languages: English
King of Nations
Come, Thou Almighty King
Hymnal: Glory to God #2 (2013) Meter: 6.6.4.6.6.6.4 Scripture: Psalm 47:7-8 Lyrics: 1 Come, thou almighty King,
help us thy name to sing;
help us to praise:
Father, all glorious,
o'er all victorious,
come, and reign over us,
Ancient of Days.
2 Come, thou incarnate Word,
merciful, mighty Lord,
our prayer attend.
Come, and thy people bless,
and give thy word success;
Spirit of holiness,
on us descend.
3 Come, holy Comforter,
thy sacred witness bear
in this glad hour.
Thou who almighty art,
now rule in every heart,
and ne'er from us depart,
Spirit of power.
4 To thee, great One in Three,
eternal praises be,
hence evermore!
Thy sovereign majesty
may we in glory see,
and to eternity
love and adore.
Topics: Adoration; Christian Year Trinity; Gift of the Holy Spirit; Incarnation; Sovereignty of God; The Triune God Languages: English Tune Title: ITALIAN HYMN
Come, Thou Almighty King
Come, Thou Almighty King
Author: Anonymous Hymnal: The Covenant Hymnal #101 (1996) Meter: 6.6.4.6.6.6.4 Scripture: Psalm 47:7-8 Topics: Doxologies and Glorias; Gathering; Holy Trinity; Kingdom of God; Music and Singing; Pulpit Hymns; Word and Teaching Tune Title: ITALIAN HYMN
Come, Thou Almighty King
Isaac Watts
1674 - 1748 Scripture: Psalm 47 Author of "Psalm 47" in Psalms and Hymns of Isaac Watts, The Isaac Watts was the son of a schoolmaster, and was born in Southampton, July 17, 1674. He is said to have shown remarkable precocity in childhood, beginning the study of Latin, in his fourth year, and writing respectable verses at the age of seven. At the age of sixteen, he went to London to study in the Academy of the Rev. Thomas Rowe, an Independent minister. In 1698, he became assistant minister of the Independent Church, Berry St., London. In 1702, he became pastor. In 1712, he accepted an invitation to visit Sir Thomas Abney, at his residence of Abney Park, and at Sir Thomas' pressing request, made it his home for the remainder of his life. It was a residence most favourable for his health, and for the prosecution of his literary labours. He did not retire from ministerial duties, but preached as often as his delicate health would permit.
The number of Watts' publications is very large. His collected works, first published in 1720, embrace sermons, treatises, poems and hymns. His "Horae Lyricae" was published in December, 1705. His "Hymns" appeared in July, 1707. The first hymn he is said to have composed for religious worship, is "Behold the glories of the Lamb," written at the age of twenty. It is as a writer of psalms and hymns that he is everywhere known. Some of his hymns were written to be sung after his sermons, giving expression to the meaning of the text upon which he had preached. Montgomery calls Watts "the greatest name among hymn-writers," and the honour can hardly be disputed. His published hymns number more than eight hundred.
Watts died November 25, 1748, and was buried at Bunhill Fields. A monumental statue was erected in Southampton, his native place, and there is also a monument to his memory in the South Choir of Westminster Abbey. "Happy," says the great contemporary champion of Anglican orthodoxy, "will be that reader whose mind is disposed, by his verses or his prose, to imitate him in all but his non-conformity, to copy his benevolence to men, and his reverence to God." ("Memorials of Westminster Abbey," p. 325.)
--Annotations of the Hymnal, Charles Hutchins, M.A., 1872.
=================================
Watts, Isaac, D.D. The father of Dr. Watts was a respected Nonconformist, and at the birth of the child, and during its infancy, twice suffered imprisonment for his religious convictions. In his later years he kept a flourishing boarding school at Southampton. Isaac, the eldest of his nine children, was born in that town July 17, 1674. His taste for verse showed itself in early childhood. He was taught Greek, Latin, and Hebrew by Mr. Pinhorn, rector of All Saints, and headmaster of the Grammar School, in Southampton. The splendid promise of the boy induced a physician of the town and other friends to offer him an education at one of the Universities for eventual ordination in the Church of England: but this he refused; and entered a Nonconformist Academy at Stoke Newington in 1690, under the care of Mr. Thomas Rowe, the pastor of the Independent congregation at Girdlers' Hall. Of this congregation he became a member in 1693.
Leaving the Academy at the age of twenty, he spent two years at home; and it was then that the bulk of the Hymns and Spiritual Songs (published 1707-9) were written, and sung from manuscripts in the Southampton Chapel. The hymn "Behold the glories of the Lamb" is said to have been the first he composed, and written as an attempt to raise the standard of praise. In answer to requests, others succeeded. The hymn "There is a land of pure delight" is said to have been suggested by the view across Southampton Water. The next six years of Watts's life were again spent at Stoke Newington, in the post of tutor to the son of an eminent Puritan, Sir John Hartopp; and to the intense study of these years must be traced the accumulation of the theological and philosophical materials which he published subsequently, and also the life-long enfeeblement of his constitution.
Watts preached his first sermon when he was twenty-four years old. In the next three years he preached frequently; and in 1702 was ordained pastor of the eminent Independent congregation in Mark Lane, over which Caryl and Dr. John Owen had presided, and which numbered Mrs. Bendish, Cromwell's granddaughter, Charles Fleetwood, Charles Desborough, Sir John Hartopp, Lady Haversham, and other distinguished Independents among its members. In this year he removed to the house of Mr. Hollis in the Minories. His health began to fail in the following year, and Mr. Samuel Price was appointed as his assistant in the ministry. In 1712 a fever shattered his constitution, and Mr. Price was then appointed co-pastor of the congregation which had in the meantime removed to a new chapel in Bury Street. It was at this period that he became the guest of Sir Thomas Abney, under whose roof, and after his death (1722) that of his widow, he remained for the rest of his suffering life; residing for the longer portion of these thirty-six years principally at the beautiful country seat of Theobalds in Herts, and for the last thirteen years at Stoke Newington. His degree of D.D. was bestowed on him in 1728, unsolicited, by the University of Edinburgh. His infirmities increased on him up to the peaceful close of his sufferings, Nov. 25, 1748. He was buried in the Puritan restingplace at Bunhill Fields, but a monument was erected to him in Westminster Abbey.
His learning and piety, gentleness and largeness of heart have earned him the title of the Melanchthon of his day. Among his friends, churchmen like Bishop Gibson are ranked with Nonconformists such as Doddridge. His theological as well as philosophical fame was considerable. His Speculations on the Human Nature of the Logos, as a contribution to the great controversy on the Holy Trinity, brought on him a charge of Arian opinions. His work on The Improvement of the Mind, published in 1741, is eulogised by Johnson. His Logic was still a valued textbook at Oxford within living memory. The World to Come, published in 1745, was once a favourite devotional work, parts of it being translated into several languages. His Catechisms, Scripture History (1732), as well as The Divine and Moral Songs (1715), were the most popular text-books for religious education fifty years ago. The Hymns and Spiritual Songs were published in 1707-9, though written earlier. The Horae Lyricae, which contains hymns interspersed among the poems, appeared in 1706-9. Some hymns were also appended at the close of the several Sermons preached in London, published in 1721-24. The Psalms were published in 1719. The earliest life of Watts is that by his friend Dr. Gibbons. Johnson has included him in his Lives of the Poets; and Southey has echoed Johnson's warm eulogy. The most interesting modern life is Isaac Watts: his Life and Writings, by E. Paxton Hood. [Rev. H. Leigh Bennett, M.A.]
A large mass of Dr. Watts's hymns and paraphrases of the Psalms have no personal history beyond the date of their publication. These we have grouped together here and shall preface the list with the books from which they are taken.
(l) Horae Lyricae. Poems chiefly of the Lyric kind. In Three Books Sacred: i.To Devotion and Piety; ii. To Virtue, Honour, and Friendship; iii. To the Memory of the Dead. By I. Watts, 1706. Second edition, 1709. (2) Hymns and Spiritual Songs. In Three Books: i. Collected from the Scriptures; ii. Composed on Divine Subjects; iii. Prepared for the Lord's Supper. By I. Watts, 1707. This contained in Bk i. 78 hymns; Bk. ii. 110; Bk. iii. 22, and 12 doxologies. In the 2nd edition published in 1709, Bk. i. was increased to 150; Bk. ii. to 170; Bk. iii. to 25 and 15 doxologies. (3) Divine and Moral Songs for the Use of Children. By I. Watts, London, 1715. (4) The Psalms of David Imitated in the Language of the New Testament, And apply'd to the Christian State and Worship. By I. Watts. London: Printed by J. Clark, at the Bible and Crown in the Poultry, &c, 1719. (5) Sermons with hymns appended thereto, vol. i., 1721; ii., 1723; iii. 1727. In the 5th ed. of the Sermons the three volumes, in duodecimo, were reduced to two, in octavo. (6) Reliquiae Juveniles: Miscellaneous Thoughts in Prose and Verse, on Natural, Moral, and Divine Subjects; Written chiefly in Younger Years. By I. Watts, D.D., London, 1734. (7) Remnants of Time. London, 1736.
454 Hymns and Versions of the Psalms, in addition to the centos are all in common use at the present time.
--Excerpts from John Julian, Dictionary of Hymnology (1907)
==================================
Watts, I. , p. 1241, ii. Nearly 100 hymns, additional to those already annotated, are given in some minor hymn-books.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
=================
Watts, I. , p. 1236, i. At the time of the publication of this Dictionary in 1892, every copy of the 1707 edition of Watts's Hymns and Spiritual Songs was supposed to have perished, and all notes thereon were based upon references which were found in magazines and old collections of hymns and versions of the Psalms. Recently three copies have been recovered, and by a careful examination of one of these we have been able to give some of the results in the revision of pp. 1-1597, and the rest we now subjoin.
i. Hymns in the 1709 ed. of Hymns and Spiritual Songs which previously appeared in the 1707 edition of the same book, but are not so noted in the 1st ed. of this Dictionary:—
On pp. 1237, L-1239, ii., Nos. 18, 33, 42, 43, 47, 48, 60, 56, 58, 59, 63, 75, 82, 83, 84, 85, 93, 96, 99, 102, 104, 105, 113, 115, 116, 123, 124, 134, 137, 139, 146, 147, 148, 149, 162, 166, 174, 180, 181, 182, 188, 190, 192, 193, 194, 195, 197, 200, 202.
ii. Versions of the Psalms in his Psalms of David, 1719, which previously appeared in his Hymns and Spiritual Songs, 1707:—
On pp. 1239, U.-1241, i., Nos. 241, 288, 304, 313, 314, 317, 410, 441.
iii. Additional not noted in the revision:—
1. My soul, how lovely is the place; p. 1240, ii. 332. This version of Ps. lxiv. first appeared in the 1707 edition of Hymns & Spiritual Songs, as "Ye saints, how lovely is the place."
2. Shine, mighty God, on Britain shine; p. 1055, ii. In the 1707 edition of Hymns & Spiritual Songs, Bk. i., No. 35, and again in his Psalms of David, 1719.
3. Sing to the Lord with [cheerful] joyful voice, p. 1059, ii. This version of Ps. c. is No. 43 in the Hymns & Spiritual Songs, 1707, Bk. i., from which it passed into the Ps. of David, 1719.
A careful collation of the earliest editions of Watts's Horae Lyricae shows that Nos. 1, 7, 9, 10, 11, 12, 14, 16, p. 1237, i., are in the 1706 ed., and that the rest were added in 1709. Of the remaining hymns, Nos. 91 appeared in his Sermons, vol. ii., 1723, and No. 196 in Sermons, vol. i., 1721. No. 199 was added after Watts's death. It must be noted also that the original title of what is usually known as Divine and Moral Songs was Divine Songs only.
--John Julian, Dictionary of Hymnology, New Supplement (1907)
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See also in:
Hymn Writers of the Church
Isaac Watts
Anonymous
Scripture: Psalm 47 Author of "All Nations, Clap Your Hands" in The Cyber Hymnal 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
Joseph Gelineau
1920 - 2008 Person Name: JG Scripture: Psalm 47 Composer (Gelineau tone) of "[Sing praise to our king, sing praise]" in Worship (3rd ed.) 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
Joseph Gelineau
