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Come, let us to the Lord our God
Author: John Morrison Meter: 8.6.8.6 Appears in 108 hymnals
Come, let us to the Lord our God
ST. BERNARD
Meter: 8.6.8.6 Appears in 154 hymnals Composer and/or Arranger: John Richardson, 1816-1879 Tune Sources: Tochter Sion, Köln, 1741 Tune Key: E Flat Major Incipit: 51232 14325 36445 Used With Text: Come, Let Us to the Lord Our God
ST. BERNARD
Come, let us to the Lord our God
Author: John Morison, 1750-1798 Hymnal: The Book of Praise #194 (1997) Lyrics: 1 Come, let us to the Lord our God
with contrite hearts return;
our God is gracious, nor will leave
the desolate to mourn.
2 God's voice commands the tempest forth
and stills the stormy wave;
God's arm is strong and swift to strike,
but also strong to save.
3 The night of sorrow long has reigned,
but dawn shall bring us light:
God shall appear, and we shall rise
with gladness in God's sight.
4 Then let us know, let us press on
to know our God the Lord,
whose coming is as sure as dawn,
whose name shall be adored.
5 As dew upon the tender grass
diffusing fragrance round,
as rain that ushers in the spring
and cheers the thirsty ground,
6 so shall God's presence bless our souls
and shed a joyful light,
that hallowed morn shall chase away
the sorrows of the night. Topics: Canticles and Scripture Paraphrases; Church Year Lent; Comfort / Consolation; Gladness / Happiness; God Presence of; God Love and Grace of; Repentance Scripture: Hosea 6:1-3 Languages: English Tune Title: KILMARNOCK
Come, let us to the Lord our God
Hosea 6:1-4: Come, let us to the Lord our God
Hymnal: Scottish Psalter and Paraphrases #R30 (1800) Meter: 8.6.8.6 First Line: Come, let us to the Lord our God Lyrics:
Come, let us to the Lord our God
with contrite hearts return;
Our God is gracious, nor will leave
the desolate to mourn.
His voice commands the tempest forth,
and stills the stormy wave;
And though his arm be strong to smite,
’tis also strong to save.
Long hath the night of sorrow reigned;
the dawn shall bring us light:
God shall appear, and we shall rise
with gladness in his sight.
Our hearts, if God we seek to know,
shall know him, and rejoice;
His coming like the morn shall be,
like morning songs his voice.
As dew upon the tender herb,
diffusing fragrance round;
As show’rs that usher in the spring,
and cheer the thirsty ground:
So shall his presence bless our souls,
and shed a joyful light;
That hallowed morn shall chase away
the sorrows of the night.
Scripture: Hosea 6:1-4 Languages: English
Hosea 6:1-4: Come, let us to the Lord our God
Come, Let Us to the Lord Our God
Author: John Morison Hymnal: Rejoice in the Lord #37 (1985) Meter: 8.6.8.6 Topics: Who Pardons All Your Iniquities Scripture: Hosea 6:1-4 Languages: English Tune Title: KILMARNOCK
Come, Let Us to the Lord Our God
William Gardiner
1770 - 1853 Person Name: William Gardiner, 1770 - 1853 Composer (Adapted from) of "BELMONT" in The Hymn Book of the Anglican Church of Canada and the United Church of Canada William Gardiner (b. Leicester, England, 1770; d. Leicester, 1853) The son of an English hosiery manufacturer, Gardiner took up his father's trade in addition to writing about music, composing, and editing. Having met Joseph Haydn and Ludwig van Beethoven on his business travels, Gardiner then proceeded to help popularize their compositions, especially Beethoven's, in England. He recorded his memories of various musicians in Music and Friends (3 volumes, 1838-1853). In the first two volumes of Sacred Melodies (1812, 1815), Gardiner turned melodies from composers such as Haydn, Mozart, and Beethoven into hymn tunes in an attempt to rejuvenate the singing of psalms. His work became an important model for American editors like Lowell Mason (see Mason's Boston Handel and Haydn Collection, 1822), and later hymnbook editors often turned to Gardiner as a source of tunes derived from classical music.
Bert Polman
William Gardiner
Henry J. Gauntlett
1805 - 1876 Composer of "ST. FULBERT" in The Pilgrim Hymnal Henry J. Gauntlett (b. Wellington, Shropshire, July 9, 1805; d. London, England, February 21, 1876) When he was nine years old, Henry John Gauntlett (b. Wellington, Shropshire, England, 1805; d. Kensington, London, England, 1876) became organist at his father's church in Olney, Buckinghamshire. At his father's insistence he studied law, practicing it until 1844, after which he chose to devote the rest of his life to music. He was an organist in various churches in the London area and became an important figure in the history of British pipe organs. A designer of organs for William Hill's company, Gauntlett extended the organ pedal range and in 1851 took out a patent on electric action for organs. Felix Mendelssohn chose him to play the organ part at the first performance of Elijah in Birmingham, England, in 1846. Gauntlett is said to have composed some ten thousand hymn tunes, most of which have been forgotten. Also a supporter of the use of plainchant in the church, Gauntlett published the Gregorian Hymnal of Matins and Evensong (1844).
Bert Polman
Henry J. Gauntlett
John Bacchus Dykes
1823 - 1876 Person Name: John Bacchus Dykes, 1823-1876 Composer of "ST AGNES, DURHAM" in The Irish Presbyterian Hymnbook 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
