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Text Identifier:"^the_god_whom_earth_and_sea_and_sky$"

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The God Whom Earth and Sea and Sky

Author: Venantius Fortunatus, c. 530-609; John M. Neale, 1818-1866 Meter: 8.8.8.8 Appears in 37 hymnals Lyrics: 1 The God whom earth and sea and sky Adore and praise and magnify, Whose might they claim, whose love they tell, In Mary's body comes to dwell. 2 O Mother blest! the chosen shrine Wherein the architect divine, Whose hand contains the earth and sky, Has come in human form to lie: 3 Blest in the message Gabriel brought; Blest in the work the Spirit wrought; Most blest, to bring to human birth The long desired of all the earth. 4 O Lord the Virgin-born, to you Eternal praise and lays are due, Whom with the Father we adore And Spirit blest for evermore. Topics: Mary Mother of God; Advent; Christmas Season; Mary, Mother of God; The Annunciation of the Lord (March 25); Incarnation Scripture: Malachi 3:1 Used With Tune: EISENACH

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EISENACH

Appears in 268 hymnals Composer and/or Arranger: John H. Schein, 1586-1630 Tune Key: D Major Incipit: 13455 43256 71766 Used With Text: The God Whom Earth and Sea and Sky
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PUER NOBIS NASCITUR

Meter: 8.8.8.8 Appears in 210 hymnals Composer and/or Arranger: Michael Praetorius (1571-1621); George Ratcliffe Woodward (1848-1934) Tune Key: D Major Incipit: 11234 32115 55671 Used With Text: The God whom earth and sea and sky
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O AMOR QUAM ECSTATICUS

Meter: 8.8.8.8 Appears in 18 hymnals Composer and/or Arranger: Basil Harwood (1859-1949) Tune Sources: French Tune Key: d minor Incipit: 15432 13455 1765 Used With Text: The God Whom Earth and Sea and Sky

Instances

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Published text-tune combinations (hymns) from specific hymnals

The God Whom Earth and Sea and Sky

Author: J. M. Neale, 1818-1866; Venantius Fortunatus, C. 530-609 Hymnal: Hymnal of Christian Unity #62 (1964) First Line: The God whom earth and sea and sky Topics: Mother of Christ Languages: English Tune Title: [The God whom earth and sea and sky]
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The God Whom Earth and Sea and Sky

Author: John Mason Neale (1818-1866); Venantius Fortunatus (540?-600?) Hymnal: Common Praise (1998) #267 (1998) Meter: 8.8.8.8 First Line: The God whom earth and sea and sky Lyrics: 1 The God, whom earth and sea and sky adore and laud and magnify, whose might they own, whose praise they swell, in Mary's womb vouchsafed to dwell. 2 The Lord, whom sun and moon obey, whom all things serve from day to day, was borne upon a maiden's breast who fullest heavenly grace possessed. 3 How blest that mother, in whose shrine the world's Creator, Lord divine, whose hand contains the earth and sky, vouchsafed, as in his ark, to lie; 4 blest in the message Gabriel brought, blest by the work the Spirit wrought; from whom the great Desire of earth, took human flesh and human birth. 5 O Lord, the virgin-born, to thee eternal praise and glory be, whom in the Godhead we adore forever and for evermore. Topics: Mary Scripture: Psalm 45 Languages: English Tune Title: O AMOR QUAM ECSTATICUS
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The God Whom Earth and Sea and Sky

Author: Venantius Fortunatus, c. 530-609; John M. Neale, 1818-1866 Hymnal: Worship (3rd ed.) #405 (1986) Meter: 8.8.8.8 Lyrics: 1 The God whom earth and sea and sky Adore and praise and magnify, Whose might they claim, whose love they tell, In Mary's body comes to dwell. 2 O Mother blest! the chosen shrine Wherein the architect divine, Whose hand contains the earth and sky, Has come in human form to lie: 3 Blest in the message Gabriel brought; Blest in the work the Spirit wrought; Most blest, to bring to human birth The long desired of all the earth. 4 O Lord the Virgin-born, to you Eternal praise and lays are due, Whom with the Father we adore And Spirit blest for evermore. Topics: Mary Mother of God; Advent; Christmas Season; Mary, Mother of God; The Annunciation of the Lord (March 25); Incarnation Scripture: Malachi 3:1 Languages: English Tune Title: EISENACH

People

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Johann Sebastian Bach

1685 - 1750 Person Name: J. S. Bach, 1685-1750 Composer of "[The God whom earth and sea and sky]" in Hymnal of Christian Unity 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)

Michael Praetorius

1571 - 1621 Composer of "PUER NOBIS NASCITUR" in Anglican Hymns Old and New (Rev. and Enl.) Born into a staunchly Lutheran family, Michael Praetorius (b. Creuzburg, Germany, February 15, 1571; d. Wolfenbüttel, Germany, February 15, 1621) was educated at the University of Frankfort-an-der-Oder. In 1595 he began a long association with Duke Heinrich Julius of Brunswick, when he was appoint­ed court organist and later music director and secretary. The duke resided in Wolfenbüttel, and Praetorius spent much of his time at the court there, eventually establishing his own residence in Wolfenbüttel as well. When the duke died, Praetorius officially retained his position, but he spent long periods of time engaged in various musical appointments in Dresden, Magdeburg, and Halle. Praetorius produced a prodigious amount of music and music theory. His church music consists of over one thousand titles, including the sixteen-volume Musae Sionae (1605-1612), which contains Lutheran hymns in settings ranging from two voices to multiple choirs. His Syntagma Musicum (1614-1619) is a veritable encyclopedia of music and includes valuable information about the musical instruments of his time. Bert Polman

George Ratcliffe Woodward

1848 - 1934 Person Name: G. R. Woodward, 1848-1934 Harmonizer of "PUER NOBIS NASCITUR" in Common Praise Educated at Caius College in Cambridge, England, George R. Woodward (b. Birkenhead, Cheshire, England, 1848; d. Highgate, London, England, 1934) was ordained in the Church of England in 1874. He served in six parishes in London, Norfolk, and Suffolk. He was a gifted linguist and translator of a large number of hymns from Greek, Latin, and German. But Woodward's theory of translation was a rigid one–he held that the translation ought to reproduce the meter and rhyme scheme of the original as well as its contents. This practice did not always produce singable hymns; his translations are therefore used more often today as valuable resources than as congregational hymns. With Charles Wood he published three series of The Cowley Carol Book (1901, 1902, 1919), two editions of Songs of Syon (1904, 1910), An Italian Carol Book (1920), and the Cambridge Carol Book