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O Lord, Open Thou Our Lips

Appears in 30 hymnals First Line: O Lord, open Thou our lips, And our mouth shall show forth Thy praise

[O Lord, open thou our lips]

Appears in 3 hymnals Tune Key: F Major Incipit: 61117 11611 711 Used With Text: O Lord, open thou our lips

[O Lord, open my lips]

Appears in 18 hymnals Tune Key: C Major Incipit: 55535 65323 Used With Text: Invitatory (Invitatorio)

[And our mouth shall show forth Thy praise]

Appears in 4 hymnals Tune Key: C Major Incipit: 56655 16476 55 Used With Text: O Lord, Open Thou Our Lips

Instances

Published text-tune combinations (hymns) from specific hymnals

O Lord, open thou my lips: and our mouth shall show forth Thy praise

Hymnal: Hymns of the Christian Life #531 (1925) Languages: English Tune Title: [O Lord, open thou my lips: and our mouth shall show forth Thy praise]

O Lord, open thou our lips. And our mouth shall show forth thy praise

Hymnal: Services for Congregational Worship. The New Hymn and Tune Book #549 (1914) Languages: English Tune Title: O LORD, OPEN THOU OUR LIPS

O Lord, open thou my lips, and my mouth shall show forth thy praise

Hymnal: Pilgrim Songs (Number Two) #S2 (1902) Languages: English Tune Title: [O Lord, open thou my lips, and my mouth shall show forth thy praise]

1505 - 1585 Person Name: T. Tallis Composer of "[O Lord, open Thou our lips]" in Songs of the Christian Life 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