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Lord Jesus, in the Days of Old

Author: James A. Noble Meter: 8.8.8.8.8.8 Appears in 11 hymnals Lyrics: 1. Lord Jesus, in the days of old Two walked with Thee in waning light; And love’s blind instinct made them bold To crave Thy presence through the night. As night descends, we too would pray, O leave us not at close of day. 2. Did not their hearts within them burn? And though their Lord they failed to know, Did not their spirits inly yearn? They could not let the stranger go. Much more must we who know Thee pray, O leave us not at close of day. Used With Tune: VATER UNSER Text Sources: Verses of a Prose Writer, 1887

Tunes

Tune authorities

ST. PETERSBURG

Appears in 354 hymnals Composer and/or Arranger: D. Bortnianski Tune Key: C Major Incipit: 53451 21715 61653 Used With Text: Lord Jesus, in the days of old

VATER UNSER

Meter: 8.8.8.8.8.8 Appears in 189 hymnals Composer and/or Arranger: Johann S. Bach Tune Sources: Geistliche Lieder (Leipzig, Germany: 1539) Tune Key: c minor Incipit: 55345 32155 47534 Used With Text: Lord Jesus, in the Days of Old

COMPANION

Meter: 8.8.8.8.8.8 Appears in 10 hymnals Composer and/or Arranger: R.S. Newman Tune Key: E Flat Major Incipit: 34561 75653 21562 Used With Text: Lord Jesus, in the days of old

Instances

Published text-tune combinations (hymns) from specific hymnals

Lord Jesus, in the Days of Old

Author: James A. Noble Hymnal: The Cyber Hymnal #3840 Meter: 8.8.8.8.8.8 Lyrics: 1. Lord Jesus, in the days of old Two walked with Thee in waning light; And love’s blind instinct made them bold To crave Thy presence through the night. As night descends, we too would pray, O leave us not at close of day. 2. Did not their hearts within them burn? And though their Lord they failed to know, Did not their spirits inly yearn? They could not let the stranger go. Much more must we who know Thee pray, O leave us not at close of day. Languages: English Tune Title: VATER UNSER

Lord Jesus, in the Days of Old

Author: James A. Noble, 1844-1896 Hymnal: Pilgrim Hymnal #44 (1958) Meter: 8.8.8.8.8.8 Languages: English Tune Title: VATER UNSER

Lord Jesus, in the days of old

Author: J.A. Noble, 1844 - 1896 Hymnal: The Hymnary of the United Church of Canada #554 (1930) Meter: 8.8.8.8.8.8 Topics: Times and Seasons Evening Languages: English Tune Title: COMPANION

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People

Authors, composers, editors, etc.

Dmitri Stepanovich Bortnianski

1751 - 1825 Person Name: D. Bortnianski Composer of "ST. PETERSBURG" in The Book of Common Praise Dimitri Stepanovitch Bortniansky (1751-1825) Ukraine 1751-1825 Born in Glukhov, Ukraine, he joined the imperial choir at age 8 and studied with Galuppi, who later took the lad with him to Italy, where he studied for 10 years, becoming a composer, harpsichordist, and conductor. While in Italy he composed several operas and other instrumental music, composing more operas and music later in Russia. In 1779 he returned to Russia, where he was appointed Director to the Imperial Chapel Choir, the first as a native citizen. In 1796 he was appointed music director. With such a great instrument at his disposal, he produced many compositions, 100+ religious works, sacred concertos, cantatas, and hymns. He influenced Rachmaninoff and Tchaikovshy, the latter editing Bortniansky's sacred work, amassing 10 volumnes. He died in St. Petersburg. He was so popular in Russia that a bronze statue was erected in his honor in the Novgorod Kremlin. He composed in different musical styles, including choral works in French, Italian, Latin, German, and Church Slavonic. John Perry

Johann Sebastian Bach

1685 - 1750 Person Name: Johann S. Bach Harmonizer of "VATER UNSER" in The Cyber Hymnal 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)