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We come as guests invited
Author: Timothy Dudley-Smith, b. 1926 Meter: 7.6.7.6.7.6.7.6 Appears in 15 hymnals Hymnal Title: The Irish Presbyterian Hymnbook Topics: Jesus Christ The Lord's Supper Used With Tune: PASSION CHORALE
We come as guests invited
PASSION CHORALE
Meter: 7.6.7.6 D Appears in 509 hymnals Composer and/or Arranger: H. L. Hassler (1564-1612); J. S. Bach (1685-1750) Hymnal Title: Hymns for Today's Church (2nd ed.) Tune Key: C Major Incipit: 51765 45233 2121 Used With Text: We come as guests invited
PASSION CHORALE
[We come as guests invited]
Appears in 55 hymnals Composer and/or Arranger: Hans Leo Hassler; J. S. Bach Hymnal Title: Sing Joyfully Tune Key: C Major Incipit: 51232 17666 51171 Used With Text: We Come as Guests Invited
[We come as guests invited]
We Come as Guests Invited
Author: Timothy Dudley-Smith Hymnal: Chalice Hymnal #386 (1995) Meter: 7.6.7.6 D Hymnal Title: Chalice Hymnal Lyrics: 1 We come as guests invited
when Jesus bids us dine,
his friends on earth united
to share the bread and wine;
the bread of life is broken
the wine is freely poured
for us, in solemn token
of Christ our dying Lord.
2 We eat and drink, receiving
from Christ the grace we need,
and in our hearts believing
on him by faith we feed;
with wonder and thanksgiving
for love that knows no end,
we find in Jesus living
our ever-present friend.
3 One bread is ours for sharing,
one single, fruitful vine,
our fellowship declaring
renewed in bread and wine:
renewed, sustained, and given
by token, sign, and word,
the pledge and seal of heaven,
the love of Christ our Lord. Topics: The Church at Worship The Lord's Supper; God's Church The Church at Worship: The Lord's Supper; Lord's Supper Languages: English Tune Title: WIE LIEBLICH IST DER MAIEN
We Come as Guests Invited
We come as guests invited
Hymnal: Church Family Worship #35 (1988) Meter: 7.6.7.6.7.6.7.6 Hymnal Title: Church Family Worship Languages: English
We come as guests invited
We come as guests invited
Hymnal: Church Hymnal, Fifth Edition #451 (2000) Hymnal Title: Church Hymnal, Fifth Edition
We come as guests invited
Timothy Dudley-Smith
b. 1926 Hymnal Title: Complete Mission Praise Author of "We come as guests invited" in Complete Mission Praise Timothy Dudley-Smith (b. 1926) Educated at Pembroke College and Ridley Hall, Cambridge, Dudley-Smith has served the Church of England since his ordination in 1950. He has occupied a number of church positions, including parish priest in the diocese of Southwark (1953-1962), archdeacon of Norwich (1973-1981), and bishop of Thetford, Norfolk, from 1981 until his retirement in 1992. He also edited a Christian magazine, Crusade, which was founded after Billy Graham's 1955 London crusade. Dudley-Smith began writing comic verse while a student at Cambridge; he did not begin to write hymns until the 1960s. Many of his several hundred hymn texts have been collected in Lift Every Heart: Collected Hymns 1961-1983 (1984), Songs of Deliverance: Thirty-six New Hymns (1988), and A Voice of Singing (1993). The writer of Christian Literature and the Church (1963), Someone Who Beckons (1978), and Praying with the English Hymn Writers (1989), Dudley-Smith has also served on various editorial committees, including the committee that published Psalm Praise (1973).
Bert Polman
Timothy Dudley-Smith
Hans Leo Hassler
1564 - 1612 Person Name: Hans Hassler, 1564-1612 Hymnal Title: Complete Mission Praise Composer of "PASSION CHORALE" in Complete Mission Praise Hans Leo Hassler Germany 1564-1612. Born at Nuremberg, Germany, he came from a family of famous musicians and received early education from his father. He then studied in Venice, Italy, with Andrea Gabrieli, uncle of Giovanni Gabrieli, his friend, with whom he composed a wedding motet. The uncle taught him to play the organ. He learned the polychoral style and took it back to Germany after Andrea Gabrieli's death. He served as organist and composer for Octavian Fugger, the princely art patron of Augsburg (1585-1601). He was a prolific composer but found his influence limited, as he was Protestant in a still heavily Catholic region. In 1602 he became director of town music and organist in the Frauenkirche in Nuremberg until 1608. He married Cordula Claus in 1604. He was finally court musician for the Elector of Saxony in Dresden, Germany, evenually becoming Kapellmeister (1608-1612). A Lutheran, he composed both for Roman Catholic liturgy and for Lutheran churches. He produced two volumns of motets, a famous collection of court songs, and a volume of simpler hymn settings. He published both secular and religious music, managing to compose much for the Catholic church that was also usable in Lutheran settings. He was also a consultant to organ builders. In 1596 he, with 53 other organists, had the opportunity to examine a new instrument with 59 stops at the Schlosskirche, Groningen. He was recognized for his expertise in organ design and often was called on to examine new instruments. He entered the world of mechanical instrument construction, developing a clockwork organ that was later sold to Emperor Rudolf II. He died of tuberculosis in Frankfurt, Germany.
John Perry
Hans Leo Hassler
Johann Sebastian Bach
1685 - 1750 Person Name: Johann Sebastian Bach, 1685-1750 Hymnal Title: Complete Mission Praise Arranger of "PASSION CHORALE" in Complete Mission Praise Johann Sebastian Bach was born at Eisenach into a musical family and in a town steeped in Reformation history, he received early musical training from his father and older brother, and elementary education in the classical school Luther had earlier attended.
Throughout his life he made extraordinary efforts to learn from other musicians. At 15 he walked to Lüneburg to work as a chorister and study at the convent school of St. Michael. From there he walked 30 miles to Hamburg to hear Johann Reinken, and 60 miles to Celle to become familiar with French composition and performance traditions. Once he obtained a month's leave from his job to hear Buxtehude, but stayed nearly four months. He arranged compositions from Vivaldi and other Italian masters. His own compositions spanned almost every musical form then known (Opera was the notable exception).
In his own time, Bach was highly regarded as organist and teacher, his compositions being circulated as models of contrapuntal technique. Four of his children achieved careers as composers; Haydn, Mozart, Beethoven, Mendelssohn, Schumann, Brahms, and Chopin are only a few of the best known of the musicians that confessed a major debt to Bach's work in their own musical development. Mendelssohn began re-introducing Bach's music into the concert repertoire, where it has come to attract admiration and even veneration for its own sake.
After 20 years of successful work in several posts, Bach became cantor of the Thomas-schule in Leipzig, and remained there for the remaining 27 years of his life, concentrating on church music for the Lutheran service: over 200 cantatas, four passion settings, a Mass, and hundreds of chorale settings, harmonizations, preludes, and arrangements. He edited the tunes for Schemelli's Musicalisches Gesangbuch, contributing 16 original tunes. His choral harmonizations remain a staple for studies of composition and harmony. Additional melodies from his works have been adapted as hymn tunes.
--John Julian, Dictionary of Hymnology (1907)
Johann Sebastian Bach
