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O Love That Wilt Not Let Me Go
Author: George Matheson Meter: 8.8.8.8.6 Appears in 675 hymnals Topics: Devotional; Fellowship with God; Inner Life; Love God's Love
O Love That Wilt Not Let Me Go
O Thou Almighty Lord and God
Author: Hans Hut; John J. Overholt Meter: 8.8.8.8.6 Appears in 1 hymnal
O Thou Almighty Lord and God
Thus saith the high and lofty One
Author: James Montgomery Meter: 8.8.8.8.6 Appears in 1 hymnal Lyrics:
Thus saith the high and lofty One,
Inhabiting eternity;
Earth is My footstool, Heaven My throne,
What temple will ye build for Me?
Restore Me now Mine own.
Behold the temple of My choice;
My dwelling is the humble soul;
To make the broken heart rejoice,
The wounded spirit to make whole;
Then hearken to My voice.
Here, O Thou high and lofty One,
Bow down Thine heavens to dwell with me;
Here plant Thy footstool, raise Thy throne,
Rebuild Thy fallen sanctuary;
I yield Thee back Thine own.
Behold the temple of Thy choice,
Eternity within my soul;
Now make the broken heart rejoice,
The wounded spirit now make whole;
Lord! I have heard Thy voice.
Topics: Soul, the temple of the
Thus saith the high and lofty One
ST. MARGARET
Meter: 8.8.8.8.6 Appears in 423 hymnals Composer and/or Arranger: Albert L. Peace Tune Key: A Flat Major Incipit: 55556 71177 77712 Used With Text: O Love That Wilt Not Let Me Go
ST. MARGARET
ES IST GEWISSLICH
Meter: 8.8.8.8.6 Appears in 347 hymnals Composer and/or Arranger: Johann Sebastian Bach, 1685 - 1750 Tune Key: F Major Incipit: 11321 22313 45321 Used With Text: O Love That Wilt Not Let Me Go
ES IST GEWISSLICH
CONSECRATION
Meter: 8.8.8.8.6 Appears in 1 hymnal Composer and/or Arranger: Anna J. Morse Tune Key: F Major Incipit: 11243 212 Used With Text: O Love that wilt not let me go
CONSECRATION
Thus saith the high and lofty One
Author: James Montgomery Hymnal: Sacred Poems and Hymns #9 (1854) Meter: 8.8.8.8.6 Lyrics:
Thus saith the high and lofty One,
Inhabiting eternity;
Earth is My footstool, Heaven My throne,
What temple will ye build for Me?
Restore Me now Mine own.
Behold the temple of My choice;
My dwelling is the humble soul;
To make the broken heart rejoice,
The wounded spirit to make whole;
Then hearken to My voice.
Here, O Thou high and lofty One,
Bow down Thine heavens to dwell with me;
Here plant Thy footstool, raise Thy throne,
Rebuild Thy fallen sanctuary;
I yield Thee back Thine own.
Behold the temple of Thy choice,
Eternity within my soul;
Now make the broken heart rejoice,
The wounded spirit now make whole;
Lord! I have heard Thy voice.
Topics: Soul, the temple of the Languages: English
Thus saith the high and lofty One
Jesus, All and in All
Author: George Matheson Hymnal: Redemption Songs #16 (1937) Meter: 8.8.8.8.6 First Line: O Love that wilt not let me go Topics: Praise and Opening Languages: English Tune Title: ST. MARGARET
Jesus, All and in All
On each return of holy rest
Hymnal: Anglican Hymn Book #20 (1868) Meter: 8.8.8.8.6 Languages: English
On each return of holy rest
Johann Sebastian Bach
1685 - 1750 Person Name: Johann Sebastian Bach, 1685 - 1750 Meter: 8.8.8.8.6 Harmonizer of "ES IST GEWISSLICH" in The Hymn Book of the Anglican Church of Canada and the United Church of Canada 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
George Matheson
1842 - 1906 Meter: 8.8.8.8.6 Author of "O Love That Wilt Not Let Me Go" in The Presbyterian Hymnal Matheson, George, D.D., was born at Glasgow, March 27, 1842, and although deprived of his eyesight in youth he passed a brilliant course at the University of Edinburgh, where he graduated M.A. in 1862. In 1868 he became the parish minister at Innellan; and subsequently of St. Bernard's, Edinburgh. He was the Baird Lecturer in 1881, and St. Giles Lecturer in 1882. He has published several important prose works. His poetical pieces were collected and published in 1890 as Sacred Songs, Edinburgh: W. Blackwood. In addition to his hymn "O Love that wilt not let me go" (q. v.), four others from his Sacred Songs are in Dr. A. C. Murphey's Book of Common Song, Belfast, 1890.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
=======================
Matheson, G., p. 1579, i. In addition to Dr. Matheson's hymn, "O Love, that wilt not let me go," p. 1583, i,, the following from his Sacred Songs, 1890, have come into common use since 1892:—
1. Come, let us raise a common song. Brotherhood.
2. Father divine, I come to Thee. Strength for Life. This, in Horder's Worship Song, 1905, is altered to”Saviour divine, I come to Thee."
3. Gather us in, Thou Love that fillest all. One in Christ.
4. Jesus, Fountain of my days. Christian's Polestar.
5. Lend me, O Lord, Thy softening cloud. The Fire and the Cloud. In the Sunday Magazine, 1875.
6. Lord, Thou hast all my frailty made. Strength for the Day.
7. Make me a captive, Lord. Christian Freedom.
8. There are coming changes great. The Glad New Time.
9. Three doors there are in the temple. Prayer.
Dr. Matheson informed us that these hymns, together with the rest of his Sacred Songs, 1890, were written at Bow, Dumbartonshire, in 1890. The 3rd ed. of the Sacred Songs was published in 1904. He died suddenly at Avenelle, North Berwick, Aug. 28, 1906.
--John Julian, Dictionary of Hymnology, New Supplement (1907)
George Matheson
Vicente P. Mendoza
1875 - 1955 Person Name: Vicente Mendoza, 1875-1955 Meter: 8.8.8.8.6 Translator of "¡Oh, Amor que no me dejarás!" in Culto Cristiano Vicente Mendoza Born: December 24, 1875, Guadalajara, Mexico. Died: 1955, Mexico City, Mexico. Mendoza studied initially under Don Aurelio Ortega. At age of 11 he went to work in a Protestant print shop in Mexico City and helped produce El Evangelista Mexicano (The Mexican Evangelist) for the Methodist Church of the South; he rose to become its director for 17 years. Looking to improve himself, Mendoza entered a night school for workers, but later feeling the call to preach the Gospel, he entered the Presbyterian Seminary in Mexico City. When the seminary closed temporarily, Mendoza entered the Methodist Institute of Puebla, where he finished the course in theology. In 1898 he became a member of the Annual Conference of the Mexican Methodist Church. From 1915 to 1917, he belonged to the Southern Methodist Conference of California. Mendoza worked on several periodicals, including El Mundo Cristiano (The Christian World), El Abogado Cristiano (The Christian Advocate), and El Evangelista Cristiano (The Christian Evangelist).
© The Cyber Hymnal™ (hymntime.com/tch)
Vicente P. Mendoza
Small Church Music
Meter: 8.8.8.8.6 Editors: George Matheson 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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Christian Classics Ethereal Hymnary
Publication Date: 2007 Publisher: Grand Rapids, MI: Christian Classics Ethereal Library Meter: 8.8.8.8.6
Christian Classics Ethereal Hymnary
