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ALL EHR UND LOB
Meter: 8.8.8.8.8.8 Appears in 21 hymnals Matching Instances: 20 Tune Sources: Gesangbuch...Psalmen, Geistliche Lieder, Strassburg, 1541, alt.; The Lutheran Hymnal, 1941 (Setting) Tune Key: G Major Incipit: 11231 44323 45342 Used With Text: Creator Spirit, by Whose Aid
ALL EHR UND LOB
Creator Spirit, by Whose Aid
Author: Rhabanus Muarus, 778,856; John Dryden, 1631-1700 Meter: 8.8.8.8.8.8 Appears in 185 hymnals Matching Instances: 6 Lyrics: 1 Creator Spirit, by whose aid
The world's foundations first were laid,
Come, visit ev'ry humble mind;
Come, pour thy joys on human-kind;
From sin and sorrow set us free,
And make thy temples fit for thee.
2 O Source of uncreated light,
The Father's promised Paraclete,
Thrice holy fount, thrice holy fire,
Our hearts with heav'nly love inspire:
Come, and thy sacred unction bring
To sanctify us while we sing.
3 Plenteous of grace, descend from high,
Rich in thy sev'nfold energy;
Make us eternal truths receive
And practice all that we believe.
Give us thyself, that we may see
The Father and the Son by thee.
4 Immortal honor, endless fame,
Attend the almighty Father's name;
The Savior Son be glorified,
Who for lost man's redemption died;
And equal adoration be,
Eternal Paraclete, to thee.
Topics: Pentecost/Praise to God, The Holy Spirit Used With Tune: ALL EHR UND LOB
Creator Spirit, by Whose Aid
All Glory Be to God Alone
Author: Unknown; W. Gustave Polack Meter: 8.8.8.8.8.8 Appears in 6 hymnals Matching Instances: 5 Topics: The Church Year Trinity Scripture: Luke 2:14 Used With Tune: ALL' EHR' UND LOB
All Glory Be to God Alone
When, Streaming from the Easter Skies
Author: William Shrubsole Meter: 8.8.8.8.8.8 Appears in 204 hymnals Matching Instances: 1 First Line: When, streaming from the eastern skies Lyrics: 1 When, streaming from the eastern skies,
The morning light salutes mine eyes,
O Sun of Righteousness Divine,
On me with beams of mercy shine;
Chase the dark clouds of sin away
And turn my darkness into day.
2 When to heav’ns great and glorious King
My morning sacrifice I bring
And, grieving o’er my guilt and shame,
Ask mercy, Savior, in Thy name,
My conscience sprinkle with Thy blood
And be my Advocate with God.
3 When each day’s scenes and labors close
And wearied nature seeks repose,
With pard'ning mercy, richly blest,
Guard me, my Savior, while I rest;
And as each morning’s sun shall rise,
Oh, lead me onward to the skies!
4 And at my life’s last setting sun,
My conflict o’er, my labor done,
Jesus, Thy heav’nly radiance shed
To cheer and bless my dying bed
And from death’s gloom my spirit raise
To see Thy face and sing Thy praise.
Amen.
Topics: Times and Seasons Morning Scripture: Psalm 55:1 Used With Tune: ALL EHR' UND LOB
When, Streaming from the Easter Skies
When, Streaming from the Eastern Skies
Author: William Shrubsole Hymnal: The Cyber Hymnal #7337 Meter: 8.8.8.8.8.8 Lyrics: 1. When, streaming from the eastern skies,
The morning light salutes mine eyes,
O sun of righteousness divine,
On me with beams of mercy shine;
Chase the dark clouds of sin away
And turn my darkness into day.
2. When to Heav’ns great and glorious king
My morning sacrifice I bring
And, grieving o’er my guilt and shame,
Ask mercy, Savior, in Thy name,
My conscience sprinkle with Thy blood
And be my advocate with God.
3. As every day Thy mercy spares
Will bring its trials and its cares;
O Savior, till my life shall end,
Be Thou my counselor and my friend.
Teach me Thy precepts, all divine,
And be Thy pure example mine.
4. When pain transfixes every part,
Or languor settles at the heart;
When on my bed, diseased, oppressed,
I turn, and sigh, and long for rest;
O great physician! see my grief,
And grant Thy servant sweet relief.
5. Should poverty’s destructive blow
Lay all my worldly comforts low;
And neither help nor hope appear,
My steps to guide, my heart to cheer;
Lord, pity and supply my need,
For Thou, on earth, wast poor indeed.
6. Should Providence profusely pour
Its varied blessings in my store;
O keep me from the ills that wait
On such a seeming prosperous state:
From hurtful passions set me free,
And humbly may I walk with Thee.
7. When each day’s scenes and labors close
And wearied nature seeks repose,
With pardoning mercy, richly blest,
Guard me, my Savior, while I rest;
And as each morning’s sun shall rise,
Oh, lead me onward to the skies!
8. And at my life’s last setting sun,
My conflict o’er, my labor done,
Jesus, Thy heav’nly radiance shed
To cheer and bless my dying bed
And from death’s gloom my spirit raise
To see Thy face and sing Thy praise. Languages: English Tune Title: ALL' EHR' UND LOB
When, Streaming from the Eastern Skies
All glory be to God alone
Author: Martin Luther, 1483-1546; W. Gustave Polack, 1890-1950 Hymnal: Lutheran Service Book #948 (2006) Meter: 8.8.8.8.8.8 Topics: Liturgical Music Scripture: Luke 2:10-14 Languages: English Tune Title: ALL EHR UND LOB
All glory be to God alone
All Glory Be to God Alone
Author: Martin Luther, 1483-1546; W. Gustave Polack, 1890-1950 Hymnal: Christian Worship #936 (2021) Meter: 8.8.8.8.8 Topics: Service Music Gloria in excelsis Scripture: Luke 2:14 Languages: English Tune Title: ALL EHR UND LOB
All Glory Be to God Alone
Rabanus Maurus
776 - 856 Person Name: Rabanus Maurus, 776-856 Author (attributed to) of "Creator Spirit, by Whose Aid" in Lutheran Service Book Rabanus Maurus (c. 776-856) or Hrabanus Magnentius Maurus, was born of noble parents at Mainz, and educated at Fulda and Tours under Alcuin, who is reputed to have given him the surname, Maurus, after the saint of that name. In 803, he became director of the school at the Benedictine Abbey at Fulda. He was ordained priest in 814, spending the following years in a pilgrimage to Palestine. In 822, he became Abbott at Fulda, retiring in 842. In 847, he became archbishop of Mainz. He died at Winkel on the Rhine, February 4, 856. This distinguished Carolingian poet-theologian wrote extensive biblical commentaries, the Encyclopaedic De Universo, De Institutione Clericorum, and other works which circulated widely during the Middle Ages. Some of his poems, with English translations, are in Helen Waddell's Mediaeval Latin Lyrics. He is the author of:
O Come, Creator Spirit, come
Christ, the fair glory of the holy angels
Come, Holy Ghost, our souls inspire
Come, Holy Ghost, Creator blest
Creator Spirit, by whose aid
--The Hymnal 1940 Companion, New York: The Church Pension Fund (1949)
===========================
Hrabanus (Rabanus) Maurus, son of one Ruthard, was born probably at Mainz, about 776. At an early age he was sent to the Monastery of Fulda to receive a religious education. In 801 he was ordained Deacon, and the following year he went to the monastic school of St. Martin at Tours to study under Alcuin, a celebrated teacher of that time, who gave to Hrabanus the name of Maurus to which Hrabanus added Magnentius. On his return to Fulda in 804 he became the head of the school connected with the Monastery. Towards him Ratgar the abbot showed great unkindness, which arose mainly from the fact that Ratgar demanded the students to build additions to the monastery, whilst Hrabanus required them at the same time for study. Hrabanus had to retire for a season, but Ratgar's deposition by Ludwig the Pious, in 817, opened up the way for his return, and the reopening of the school In the meantime, in 814, he had been raised to the Priesthood. Egil, who succeeded Ratgar as abbot, died in 822, and Hrabanus was appointed in his stead. This post he held for some time, until driven forth by some of the community. In 847, on the death of Archbishop Otgar, Ludwig the younger, with whom Hrabanus had sided in his demand for German independence as against the imperialism of his elder brother Lothar, rewarded him with the Archbishopric of Mainz, then the metropolitan see of Germany. He held this appointment to his death on Feb. 4, 856. He was buried first in St. Alban's, Mainz, and then, during the early days of the Reformation, in St. Maurice, Halle, possibly because of the opposition he is known to have made to the doctrine of Transubstantiation.
With German historians Hrabanus is regarded as the father of the modern system of education in that country. His prose works were somewhat numerous, but the hymns with which his name is associated are few. We have the "Christe sanctorum decus Angelorum”; “Tibi Christe, splendor Patris”; and the "Veni Creator Spiritus”; but recent research convinces us that the ascription in each case is very doubtful; and none are received as by Hrabanus in Professor Dümmler's edition of the Carmina of Hrabanus in the Poetae Latini aevi Carolini, vol. ii. 1884. Dümmler omits them even from the "hymns of uncertain origin."
--John Julian, Dictionary of Hymnology, Appendix I (1907)
=======================
http://en.wikipedia.org/wiki/Rabanus_Maurus
Rabanus Maurus
John Dryden
1631 - 1700 Person Name: John Dryden, 1631-1700 Translator of "Creator Spirit, by Whose Aid" in Lutheran Service Book Dryden, John. The name of this great English poet has recently assumed a new importance to the students of hymns, from a claim made on his behalf in regard to a considerable body of translations from the Latin published after his death (1701), in a Primer of 1706. The discussion of this point will preclude us from giving more than an outline of his life.
i. Biography.—John Dryden was the son of Erasmus, the third son of Sir Erasmus Dryden, and was born at Aid winkle, All Saints, Northants, Aug. 9, 1631. He was educated under Dr. Busby at Westminster, and entered Trip. College, Cambridge, in 1650. He took his B.A. in 1654, and resided nearly 7 years, though without a fellowship. He was of Puritan blood on both his father's and mother's side, and his training found expression in his first great poem, Heroic Stanzas on the death of Oliver Cromwell, 1658. In 1660, however, he turned, like the bulk of England, Royalist, and in his Astraea Redux, and in A Panegyric on the Coronation (1661), celebrated the Restoration. In 1663 he married Lady Elizabeth Howard. The marriage was apparently not a happy one; and there seems to be plain proof of Dryden's unfaithfulness. In 1670 he was made Poet Laureate and Historiographer Royal, and he retained these posts until the accession of William (1688). He had joined the Roman Church in 1685, and remained steadfast to it at the fall of James II. This change is of special significance, as will appear below, in regard to his translations from the Latin. It greatly straitened his means, and compelled him to great literary exertion in his closing years. He died May 18, 1701, and was buried in Westminster Abbey.
The poems of Dryden show high excellence in fields widely different from another. He was for years the leader of the English stage, as a writer of tragedy, comedy, and tragi-comedy. The specialities of his plays were a large substitution of the heroic couplet for blank verse, in imitation of Corneille, plots full of exaggerated passion, intrigue, and rant, and a catchword dialogue. These features were caricatured by Buckingham and others in the Rehearsal (acted 1671). The gross immorality of his dramas has long made them unreadable; but his influence on poetry has been enduring. No metre so long dominated style as his heroic couplet, which, though inferior to Pope's in polish and precision, excels it in resonance, freedom and audacity, "The long resounding march and energy divine." He was the first to make poetry a lucid vehicle for political and religious discussion, in the Religio Laid (1682), and The Hind and Panther (1687). The finest satires in English are Absalom and Acnitophel (Part i., 1681; Part ii., 1682, to which he contributed only a portion, the rest being by Nahura Tate), The Medal, and Mac Flecknoe (1682). He gave a new energy and fulness of meaning to the work of translation through his classical reproductions, of which his Virgil is the finest specimen (published in 1697). Alexander's Feast remains one of the most brilliant English odes. His prefaces and dedications had a large influence on our prose style, and are the first material efforts in the province of poetical criticism. The salient points of his genius are a transcendent literary force continually exerting itself in fresh forms; and that narrowing of the work of poetry to matters of political, social, human interest, which ruled supreme in Pope and his followers. (See Dryden by Mr. G. Saintsbury, Men of Letters Series.)
ii. Hymn Translations. — Until recently, Dryden's known contributions to hymnody consisted of only three pieces. The best known of these is the translation of “Veni Creator," published in vol. iii. of his Miscellanies, in 1693. Sir Walter Scott, in his Life of Dryden, 1808, published a translation of the "Te Deum " ("Thee Sovereign God our grateful accents praise"), and a translation of "Ut queant laxis," the hymn at Evensong for St. John the Baptist's Day (Scott calls it "St. John's Eve") ("O sylvan Prophet ").
Mr. W. T. Brooke has pointed out one or two facts that slightly shake Scott's attribution of these two pieces to Dryden. He has discovered the translation of the "Te Deum” in Dodd's Christian's Magazine, 1760, contributed by J. Duncombe, and attributed to Pope. And Scott's account of the two pieces is confused. He received them from a Mrs. Jackson, who told him that they were mentioned in Butler's “Tour through Italy," and that after Butler's death they passed into the hands of the celebrated Dr. Alban, and so came to hers. They are not however mentioned in the published edition of Butler's Tour; and "Butler" and "Dr. Alban" are the same person—-Dr. Alban Butler, author of The Lives of the Saints. Alban Butler's Tour was edited and published by Charles Butler, his nephew, who also wrote a Life of Alban Butler. The confusion cannot now be unravelled: but is not enough to discredit Scott's decision, which may have rested on the handwriting. The translation of the "Te Deum" is not like Pope, and has a Drydenesque Alexandrine in it, and other marks of Dryden's manner. One great Roman Catholic poet was perhaps confused with the other.
These three pieces, however, with slight variation of text, have been discovered independently by Mr. Orby Shipley and Mr. W. T. Brooke, in The Primer, or Office of the B. V. Mary, in English, 1706; and the discovery has led them to a strong conviction that the bulk of the 120 translations of Latin hymns in this book are also Dryden's. It is shown under Primers, that there are remarkable evidences of unity of hand in these translations. Is this hand Dryden's? The case for Dryden is a constructive one, and may be thus summarised:—
The translation in Scott, "0 sylvan Prophet," is in a metre unknown to previous editions of the Primer; and there are altogether 11 translations generally representing Latin Sapphics, in the book in this metre. Five of these translations have a further internal link in having the same gloria, three in having another common gloria. The presumption is irresistible that they are all by the author of "0 sylvan Prophet." Again, the translation of the "Te Deum " (also in Scott) is one of 8 pieces in Dryden's great metre, which is also new to the Primers' heroic couplets. Though not linked by common glorias, the tone of all these is Drydenesque, especially the translation of "Sacris Solemniis," which has these characteristic lines, "They eat the Lamb with legal rites and gave Their mother synagogue a decent grave," and closes with an Alexandrine. The translation "Creator Spirit, by Whose aid" is followed by two others in the same metre, which have a variation (in a single word) of its gloria. The three known hymns of Dryden are thus heads of groups presumptively of the same parentage. Proceeding further in the book, the large group of 8-syllable hymns exhibits 35, which are curiously marked as by a single band through their glorias (see Primers). They have several Drydenesque phrases (e.g. "noon of night,” “gleamy white," a technical use of "yielding," “liquid," "equal"), turns of expression and cadences, and a significant link with the translation of the "Te Deum" in the term “vocal blood" (cf. "vocal tears" in 2 other translations) found in the translation of "Deus tuorum militum." This technical method of inquiry when applied still further to other groups linked by a single gloria certainly points in the same direction; Drydenisms, links with groups already named, an occasional appearance of layman freedom of expression, and in one case (“Audit tyrannus" tr.), an echo of the heroic plays, emerge. The least characteristic group is that containing translations of "Ave maris stella" and "Jesu dulcis memoria," in C.M.; and the latter translation ("Jesu, the only thought of Thee"), beautiful as it is, is in the main only the translation from the Primer of 1685 recast in C.M. But the adoption of C.M.—-a new metre in these Primers—-would be natural in one previously long familiar with the metrical Psalms; the translation of “Ave maris stella" has the recurrent use of "equal," which is a mannerism of Dryden: and the word "way " in the translation of "Jesu dulcis memoria" is used similarly in that of "Immense coeli conditor."
The result of a minute investigation, purposely conducted on somewhat mechanical lines, is a presumption almost amounting to proof, that the bulk of these 120 translations are not only by the same hand, but by the hand of Dryden. A measure of doubt must however attach to the least characteristic pieces, from the following considerations:—
(1) The translations of "Stabat Mater " and "Dies Irae" are reprinted from the Primer of 1687. This fact is of course not decisive against their parentage by Dryden, as it may be argued, that the Primer of 1687 also contains Dryden translations. But (2) the translation of the "Dies Irae "seems to be, notwithstanding some Drydenesque phrases, by Lord Roscommon. It is found in a text considerably varied from that of 1706 in Tate's Miscellanea Sacra 1696 and 1698); and is there attributed to Lord Roscommon. It appears also, but in a text identical with that of 1706, in Tonson's Poems by The Earl of Roscommon, 1717, which professes to give only the "truly genuine" poems of the Earl. If this translation is not Dryden's, others also may not be his. And (3) the Primer of B. V. M. in which these translations are found did not appear till five years after Dryden's death; and may have been edited by some one else. Mr. W. T. Brooke has drawn attention to variations in the text of Scott from that of the Primer; which may be accounted for by editorial revision; and the editor may have had blanks to fill in which Dryden had left.
It would be most natural to suppose that the Primer would be edited by a priest; but the fact that it is difficult to say whether the text in Scott or in the Primer is the more characteristic of Dryden either points to the existence of two authentic texts of the poet, or a revision by someone thoroughly intimate with Dryden's manner, e.g. (as Mr. Brooke acutely conjectures), Charles Dryden, who may have taken his father's manuscripts with him to Rome.
The argument in favour of Dryden is presented with great force and skill by Mr. Orby Shipley in the Dublin Review, October, 1884, and in the preface to his Annus Sanctus.
In corroboration of the evidence given above, Mr. Shipley has collected some Roman Catholic traditions, which ascribe to Dryden "a considerable number" of Latin translations “Jesu dulcis memoria" and "Dies Irae" are said to have been translated as penances. These traditions are however very indefinite; in some cases they do not date earlier than the present century; and in some (see Preface to Annus Sanctus) they are mistaken. He seeks a further corroboration of the theory from the appearance of several of these translations in editions of The Manual of Prayers, 1750, and The Garden of the Soul, 1737. But it is shown under Primers that these books afford no real evidence on this subject. [Rev. H. Leigh Bennett, M.A.]
- John Julian, Dictionary of Hymnology (1907)
John Dryden
W. G. Polack
1890 - 1950 Person Name: W. G. Polack, 1890-1950 Translator of "All Glory Be to God Alone" in Evangelical Lutheran Hymnary
W. G. Polack
Small Church Music
Editors: St. Ambrose Description:
The SmallChurchMusic site was launched in 2006, growing out of the requests from those struggling
to provide suitable music for their services and meetings. Rev. Clyde McLennan was ordained in mid
1960’s and was a pastor in many small Australian country areas, and therefore was acutely aware of
this music problem. Having also been trained as a Pipe Organist, recordings on site (which are a subset
of the smallchurchmusic.com site) are all actually played by Clyde, and also include piano and piano
with organ versions. All recordings are in MP3 format.
Churches all around the world use the recordings, with downloads averaging over 60,000 per
month.
The recordings normally have an introduction, several verses and a slowdown on the last verse.
Users are encouraged to use software: Audacity (http://www.audacityteam.org) or Song Surgeon (http://songsurgeon.com) (see http://scm-audacity.weebly.com for more information) to adjust the MP3 number of verses, tempo
and pitch to suit their local needs.
Copyright notice: Rev. Clyde McLennan, performer in this collection, has assigned his performer rights in this collection to Hymnary.org. Non-commercial use of these recordings is permitted. For permission to use them for any other purposes, please contact manager@hymnary.org.
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