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I Will Lift Up Mine Eyes
Appears in 147 hymnals First Line: I will lift up mine eyes unto the hills (Chant)
I Will Lift Up Mine Eyes
[I will lift up mine eyes unto the hills]
Appears in 7 hymnals Incipit: 56716 543 Used With Text: I Will Lift Up Mine Eyes
[I will lift up mine eyes unto the hills]
[I will lift up mine eyes unto the hills]
Appears in 5 hymnals Composer and/or Arranger: G. F. R. Incipit: 13122 321 Used With Text: I will lift up mine eyes
[I will lift up mine eyes unto the hills]
[I lift up my eyes to the hills]
Appears in 3 hymnals Composer and/or Arranger: T. Aylward Tune Key: C Major Incipit: 17655 67117 1 Used With Text: Psalm 121
[I lift up my eyes to the hills]
I Will Lift Up Mine Eyes
Hymnal: Living Fountain #19 (1884) First Line: I will lift up mine eyes unto the hills Languages: English Tune Title: [I will lift up mine eyes unto the hills]
I Will Lift Up Mine Eyes
I Will Lift Up Mine Eyes
Hymnal: Christian Life Songs #51 (1890) First Line: I will lift up mine eyes unto the hills, from whence cometh my help Languages: English Tune Title: [I will lift up mine eyes unto the hills, from whence cometh my help]
I Will Lift Up Mine Eyes
I Will Lift Up Mine Eyes
Hymnal: Beautiful Songs; a new and choice collection of songs for the sunday school. Also, a responsive service for each month in the year #101 (1887) First Line: I will lift up mine eyes unto the hills Languages: English Tune Title: [I will lift up mine eyes unto the hills]
I Will Lift Up Mine Eyes
James Turle
1802 - 1882 Composer of "[I will lift up mine eyes unto the hills From whence cometh my help]" in Carmina Sanctorum TURLE, JAMES (1802–1882), organist and composer, son of James Turle, an amateur 'cello-player, was born at Taunton, Somerset, on 5 March 1802. From July 1810 to December 1813 he was a chorister at Wells Cathedral under Dodd Perkins, the organist. At the age of eleven he came to London, and was articled to John Jeremiah Goss, but he was largely self-taught. He had an excellent voice and frequently sang in public. John Goss [q. v.], his master's nephew, was his fellow student, and thus the future organists of St. Paul's Cathedral and Westminster Abbey were pupils together. Turle was organist of Christ Church, Surrey (Blackfriars Road), 1819–1829, and of St. James's, Bermondsey, 1829–31. His connection with Westminster Abbey began in 1817, when he was only fifteen. He was at first pupil of and assistant to G. E. Williams, and subsequently deputy to Thomas Greatorex [q. v.], Williams's successor as organist of the abbey. On the death of Greatorex on 18 July 1831, Turle was appointed organist and master of the choristers, an office which he held for a period of fifty-one years. Turle played at several of the great musical festivals, e.g. Birmingham and Norwich, under Mendelssohn and Spohr, but all his interests were centred in Westminster Abbey. His playing at the Handel festival in 1834 attracted special attention. At his own request the dean and chapter relieved him of the active duties of his post on 26 Sept. 1875, when his service in D was sung, and Dr. (now Professor Sir John Frederick) Bridge, the present organist, became permanent deputy-organist. Turle continued to hold the titular appointment till his death, which took place at his house in the Cloisters on 28 June 1882. The dean offered a burial-place within the precincts of the abbey, but he was interred by his own express wish beside his wife in Norwood cemetery. A memorial window, in which are portraits of Turle and his wife, was placed in the north aisle of the abbey by one of his sons, and a memorial tablet has been affixed to the wall of the west cloister. Turle married, in 1823, Mary, daughter of Andrew Honey, of the exchequer office. She died in 1869, leaving nine children. Henry Frederic Turle [q. v.] was his fourth son. His younger brother Robert was for many years organist of Armagh Cathedral.
Turle was an able organist of the old school, which treated the organ as essentially a legato instrument. He favoured full ‘rolling’ chords, which had a remarkable effect on the vast reverberating space of the abbey. He had a large hand, and his ‘peculiar grip’ of the instrument was a noticeable feature of his playing. His accompaniments were largely traditional of all that was best in his distinguished predecessors, and he greatly excelled in his extemporaneous introductions to the anthems. Like Goss, he possessed great facility in reading from a ‘figured bass.’ Of the many choristers who passed through his hands, one of the most distinguished is Mr. Edward Lloyd, the eminent tenor singer.
His compositions include services, anthems, chants, and hymn-tunes. Several glees remain in manuscript. In conjunction with Professor Edward Taylor [q. v.] he edited ‘The People's Music Book’ (1844), and ‘Psalms and Hymns’ (S. P. C. K. 1862). His hymn-tunes were collected by his daughter, Miss S. A. Turle, and published in one volume (1885). One of these, ‘Westminster,’ formerly named ‘Birmingham,’ has become widely known, and is very characteristic of its composer.
--en.wikisource.org/
James Turle
Joseph Barnby
1838 - 1896 Person Name: J. Barnby Composer of "LEVAVI OCULOS MEOS" in Songs of the Christian Life Joseph Barnby (b. York, England, 1838; d. London, England, 1896) An accomplished and popular choral director in England, Barby showed his musical genius early: he was an organist and choirmaster at the age of twelve. He became organist at St. Andrews, Wells Street, London, where he developed an outstanding choral program (at times nicknamed "the Sunday Opera"). Barnby introduced annual performances of J. S. Bach's St. John Passion in St. Anne's, Soho, and directed the first performance in an English church of the St. Matthew Passion. He was also active in regional music festivals, conducted the Royal Choral Society, and composed and edited music (mainly for Novello and Company). In 1892 he was knighted by Queen Victoria. His compositions include many anthems and service music for the Anglican liturgy, as well as 246 hymn tunes (published posthumously in 1897). He edited four hymnals, including The Hymnary (1872) and The Congregational Sunday School Hymnal (1891), and coedited The Cathedral Psalter (1873).
Bert Polman
Joseph Barnby
Anonymous
Person Name: Unknown Composer of "[I will lift up mine eyes unto the hills, from whence cometh my help]" in Grateful Praise 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
