My Starred Hymns
My FlexScores
My Hymnals
My Purchased Files
Planning worship?
Check out our sister site, ZeteoSearch.org,
for 20+ additional resources related to your search.
- |
User Links
Search Results
How shallow former shadows
Author: Carl P. Daw, Jr. Appears in 2 hymnals Hymnal Title: Calvin Hymnary Project First Line: How shallow former shadows seem Text Sources: A Year of Grace, 1990
How shallow former shadows
THE THIRD MELODY
Appears in 44 hymnals Composer and/or Arranger: Thomas Tallis Hymnal Title: Hymnal Tune Sources: The Whole Psalter Translated into English Metre, 1567-1568 Tune Key: e minor Incipit: 13333 44555 55655 Used With Text: How shallow former shadows
THE THIRD MELODY
How shallow former shadows
Author: Carl P. Daw, Jr. Hymnal: Hymnal #251 (1992) Hymnal Title: Hymnal First Line: How shallow former shadows seem Languages: English Tune Title: THE THIRD MELODY
How shallow former shadows
How Shallow Former Shadows
Author: Carl P. Daw Jr. Hymnal: Voices Together #326 (2020) Meter: 8.6.8.6 D Hymnal Title: Voices Together First Line: How shallow former shadows seem Lyrics: 1 How shallow former shadows seem beside this great reverse,
as darkness swallows up the light of all the universe.
Creation shivers at the shock, the temple rends its veil.
A pallid stillness stifles time and nature's motions fail.
2 This is no midday fantasy, no flight of fevered brain.
With vengeance awful, grim, and real, chaos is come again.
The hands that formed us from the soil are nailed upon the cross.
The Word that gave us life and breath expires in utter loss.
3 Yet deep within this darkness lives a Love so fierce and free,
that arcs all voids and—risk supreme!—embraces agony.
Its perfect testament is etched in iron, blood, and wood.
With awe we glimpse its true import, and dare to call it good. Topics: God Love of Scripture: Matthew 27:45-54 Tune Title: THIRD MODE MELODY
How Shallow Former Shadows
Carl P. Daw Jr.
b. 1944 Hymnal Title: Voices Together Author of "How Shallow Former Shadows" in Voices Together Carl P. Daw, Jr. (b. Louisville, KY, 1944) is the son of a Baptist minister. He holds a PhD degree in English (University of Virginia) and taught English from 1970-1979 at the College of William and Mary, Williamsburg, Virginia. As an Episcopal priest (MDiv, 1981, University of the South, Sewanee, Tennesee) he served several congregations in Virginia, Connecticut and Pennsylvania. From 1996-2009 he served as the Executive Director of The Hymn Society in the United States and Canada. Carl Daw began to write hymns as a consultant member of the Text committee for The Hymnal 1982, and his many texts often appeared first in several small collections, including A Year of Grace: Hymns for the Church Year (1990); To Sing God’s Praise (1992), New Psalms and Hymns and Spiritual Songs (1996), Gathered for Worship (2006). Other publications include A Hymntune Psalter (2 volumes, 1988-1989) and Breaking the Word: Essays on the Liturgical Dimensions of Preaching (1994, for which he served as editor and contributed two essays. In 2002 a collection of 25 of his hymns in Japanese was published by the United Church of Christ in Japan. He wrote Glory to God: A Companion (2016) for the 2013 hymnal of the Presbyterian Church (U.S.A.).
Emily Brink
Carl P. Daw Jr.
Thomas Tallis
1505 - 1585 Hymnal Title: Voices Together Composer of "THIRD MODE MELODY" in Voices Together Thomas Tallis (b. Leicestershire [?], England, c. 1505; d. Greenwich, Kent, England 1585) was one of the few Tudor musicians who served during the reigns of Henry VIII: Edward VI, Mary, and Elizabeth I and managed to remain in the good favor of both Catholic and Protestant monarchs. He was court organist and composer from 1543 until his death, composing music for Roman Catholic masses and Anglican liturgies (depending on the monarch). With William Byrd, Tallis also enjoyed a long-term monopoly on music printing. Prior to his court connections Tallis had served at Waltham Abbey and Canterbury Cathedral. He composed mostly church music, including Latin motets, English anthems, settings of the liturgy, magnificats, and two sets of lamentations. His most extensive contrapuntal work was the choral composition, "Spem in alium," a work in forty parts for eight five-voice choirs. He also provided nine modal psalm tunes for Matthew Parker's Psalter (c. 1561).
Bert Polman
Thomas Tallis
