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Text Identifier:"^how_precious_is_the_book_divine$"

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Texts

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How Precious Is the Book Divine

Author: Rev. John Fawcett Meter: 8.6.8.6 Appears in 641 hymnals Topics: Scriptures Used With Tune: ARMAH

Tunes

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WALDER

Meter: 8.6.8.6 Appears in 3 hymnals Composer and/or Arranger: Johann J. Walder Tune Key: A Flat Major Incipit: 53216 54351 1765 Used With Text: How Precious Is the Book Divine
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KNOX

Appears in 26 hymnals Tune Sources: Temple Melodies Incipit: 51232 16551 23152 Used With Text: How precious is the book divine
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SABBATA

Meter: 8.6.8.6 Appears in 35 hymnals Composer and/or Arranger: Henri F. Hemy Tune Key: A Major Incipit: 55517 12511 67132 Used With Text: How precious is the book divine

Instances

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Published text-tune combinations (hymns) from specific hymnals

How Precious Is the Book (The Precious Book Divine)

Author: John Fawcett; Lloyd O. Sanderson Hymnal: Praise for the Lord (Expanded Edition) #249 (1997) First Line: How precious is the Book divine Topics: Bible Scripture: Psalm 119:105 Languages: English Tune Title: [How precious is the Book divine]
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How Precious is the Book Divine

Author: Rev. John Fawcett Hymnal: Sunday School Hymns No. 1 #60 (1903) Refrain First Line: Oh precious book of light and life Topics: Bible Languages: English Tune Title: [How precious is the book divine]
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How Precious Is the Book Divine

Author: J. Fawcett Hymnal: Glad Tidings #117 (1899) Languages: English Tune Title: [How precious is the book divine]

People

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James Turle

1802 - 1882 Person Name: J. Turle Composer of "ARMAH" in Gloria Deo TURLE, JAMES (1802–1882), organist and composer, son of James Turle, an amateur 'cello-player, was born at Taunton, Somerset, on 5 March 1802. From July 1810 to December 1813 he was a chorister at Wells Cathedral under Dodd Perkins, the organist. At the age of eleven he came to London, and was articled to John Jeremiah Goss, but he was largely self-taught. He had an excellent voice and frequently sang in public. John Goss [q. v.], his master's nephew, was his fellow student, and thus the future organists of St. Paul's Cathedral and Westminster Abbey were pupils together. Turle was organist of Christ Church, Surrey (Blackfriars Road), 1819–1829, and of St. James's, Bermondsey, 1829–31. His connection with Westminster Abbey began in 1817, when he was only fifteen. He was at first pupil of and assistant to G. E. Williams, and subsequently deputy to Thomas Greatorex [q. v.], Williams's successor as organist of the abbey. On the death of Greatorex on 18 July 1831, Turle was appointed organist and master of the choristers, an office which he held for a period of fifty-one years. Turle played at several of the great musical festivals, e.g. Birmingham and Norwich, under Mendelssohn and Spohr, but all his interests were centred in Westminster Abbey. His playing at the Handel festival in 1834 attracted special attention. At his own request the dean and chapter relieved him of the active duties of his post on 26 Sept. 1875, when his service in D was sung, and Dr. (now Professor Sir John Frederick) Bridge, the present organist, became permanent deputy-organist. Turle continued to hold the titular appointment till his death, which took place at his house in the Cloisters on 28 June 1882. The dean offered a burial-place within the precincts of the abbey, but he was interred by his own express wish beside his wife in Norwood cemetery. A memorial window, in which are portraits of Turle and his wife, was placed in the north aisle of the abbey by one of his sons, and a memorial tablet has been affixed to the wall of the west cloister. Turle married, in 1823, Mary, daughter of Andrew Honey, of the exchequer office. She died in 1869, leaving nine children. Henry Frederic Turle [q. v.] was his fourth son. His younger brother Robert was for many years organist of Armagh Cathedral. Turle was an able organist of the old school, which treated the organ as essentially a legato instrument. He favoured full ‘rolling’ chords, which had a remarkable effect on the vast reverberating space of the abbey. He had a large hand, and his ‘peculiar grip’ of the instrument was a noticeable feature of his playing. His accompaniments were largely traditional of all that was best in his distinguished predecessors, and he greatly excelled in his extemporaneous introductions to the anthems. Like Goss, he possessed great facility in reading from a ‘figured bass.’ Of the many choristers who passed through his hands, one of the most distinguished is Mr. Edward Lloyd, the eminent tenor singer. His compositions include services, anthems, chants, and hymn-tunes. Several glees remain in manuscript. In conjunction with Professor Edward Taylor [q. v.] he edited ‘The People's Music Book’ (1844), and ‘Psalms and Hymns’ (S. P. C. K. 1862). His hymn-tunes were collected by his daughter, Miss S. A. Turle, and published in one volume (1885). One of these, ‘Westminster,’ formerly named ‘Birmingham,’ has become widely known, and is very characteristic of its composer. --en.wikisource.org/

Joseph Haydn

1732 - 1809 Person Name: Franz Joseph Haydn Composer of "MANOAH" in Hymns of Worship and Remembrance Franz Joseph Haydn (b. Rohrau, Austria, 1732; d. Vienna, Austria, 1809) Haydn's life was relatively uneventful, but his artistic legacy was truly astounding. He began his musical career as a choirboy in St. Stephen's Cathedral, Vienna, spent some years in that city making a precarious living as a music teacher and composer, and then served as music director for the Esterhazy family from 1761 to 1790. Haydn became a most productive and widely respected composer of symphonies, chamber music, and piano sonatas. In his retirement years he took two extended tours to England, which resulted in his "London" symphonies and (because of G. F. Handel's influence) in oratorios. Haydn's church music includes six great Masses and a few original hymn tunes. Hymnal editors have also arranged hymn tunes from various themes in Haydn's music. Bert Polman

Henri F. Hemy

1818 - 1888 Composer of "SABBATA" in The Hymnal Henri F. Hemy, born in the United Kingdom. Hemy spent time at sea as a young man, emigrating to Australia in 1850 with his family. Unable to make a decent living in Melbourne, he returned to Newcastle England. He was organist at St. Andrews Roman Catholic Church in Newcastle, later teaching professor of music at Tynemouth and at St. Cuthbert's College in Durham. He was pianist to Lord Ravensworth, Music Director of Ushaw College, and his orchestra played at fashionable venues in the region. He sang baritone as well. He composed waltzes, polkas, quadrilles, and galops. 3 music works: Easy Hymn Tunes for Catholic Schools; Royal Modern Tutor for Pianoforte; Crown of Jesus. He was active in local politics and published a manifesto in the daily newspaper. He lost a ward election. He also painted artwork. He set most of Longfellow's works to music. John Perry
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