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Tune Identifier:"^chant_crotch_54325$"

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GLORIA IN EXCELSIS

Appears in 9 hymnals Composer and/or Arranger: W. Crotch Incipit: 54325 67117 1 Used With Text: Glory be to God on high

Texts

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Glory be to God on high

Appears in 252 hymnals Topics: Canticles and Ancient Hymns Used With Tune: GLORIA IN EXCELSIS
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O come, let us sing unto the Lord

Appears in 453 hymnals Lyrics: 1 O come, let us sing unto the Lord: let us make a joyful noise to the Rock of our salvation. 2 Let us come before His presence with thanksgiving: and make a joyful noise unto Him with psalms. 3 For the Lord is a great God: and a great King above all Gods. 4 In His hand are the deep places of the earth: the strength of the hill is His also. 5 The sea is His and He made it: and His hands formed the dry land. 6 O come, let us worship and bow down: let us kneel before the Lord our Maker. 7 For He is our God: and we are the people of His pasture, and the sheep of His hand. 8 To-day if ye will hear His voice, harden not your heart: as in the provocation, and as in the day of temptation in the wilderness: 9 When your father tempted me: proved me and saw my work. 10 Forty years long was I grieved with this generation and said: it is a people that do err in their heart, and they have not known my ways. 11 Unto whom I sware in my wrath: that they should not enter into my rest. Glory be to the Father, and to the Son: and to the Holy Ghost; As it was in the beginning is now and ever shall be: world without end. Amen. Topics: Psalms and Canticles Scripture: Psalm 95 Used With Tune: [O come, let us sing unto the Lord]
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I will alway give thanks unto the Lord: His praise shall ever be in my mouth

Appears in 4 hymnals Used With Tune: [I will alway give thanks unto the Lord: His praise shall ever be in my mouth]

Instances

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Published text-tune combinations (hymns) from specific hymnals
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Venite, exultemus Domino

Hymnal: The Church Hymnal #C2 (1898) First Line: O come, let us sing unto the Lord: let us heartily rejoice in the strength of our salvation Tune Title: [O come let us sing unto the Lord] (Crotch)
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O come, let us sing unto the Lord

Hymnal: The Hymnal #735a (1921) Languages: English Tune Title: VENITE, EXULTEMUS DOMINO (Crotch)
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Venite, exultemus Domino

Hymnal: Common Praise #C7 (1913) First Line: O come, let us sing unto the Lord; let us heartily rejoice in the strength of our salvation Languages: English Tune Title: [O come, let us sing unto the Lord; let us heartily rejoice in the strength of our salvation]

People

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Authors, composers, editors, etc.

William Crotch

1775 - 1847 Composer of "VENITE, EXULTEMUS DOMINO (Crotch)" in The Hymnal William Crotch (5 July 1775 – 29 December 1847) was an English composer, organist and artist. Born in Norwich, Norfolk to a master carpenter he showed early musical talent as a child prodigy. The three and a half year old Master William Crotch was taken to London by his ambitious mother, where he not only played on the organ of the Chapel Royal in St James's Palace, but for King George III. The London Magazine of April 1779 records: He appears to be fondest of solemn tunes and church musick, particularly the 104th Psalm. As soon as he has finished a regular tune, or part of a tune, or played some little fancy notes of his own, he stops, and has some of the pranks of a wanton boy; some of the company then generally give him a cake, an apple, or an orange, to induce him to play again... Crotch was later to observe that this experience led him to become a rather spoiled child, excessively indulged so that he would perform. He was for a time organist at Christ Church, Oxford, from which he was later to graduate with a Bachelor of Music degree. His composition The Captivity of Judah was played at Trinity Hall, Cambridge, on 4 June 1789; his most successful composition in adulthood was the oratorio Palestine (1812). He may have composed the Westminster Chimes in 1793. In 1797 Crotch was given a professorship at Oxford University, and in 1799 he acquired a doctorate in music. While at Oxford, he became acquainted with the musician and artist John Malchair, and took up sketching. He followed Malchair's style in recording the exact time and date of each of his pictures, and when he met John Constable in London in 1805, he passed the habit along to the more famous artist. In 1834, to commemorate the installation of the Duke of Wellington as chancellor of the University of Oxford, Crotch penned a second oratorio titled The Captivity of Judah. The 1834 work bears little resemblance to the oratorio he wrote as a child in 1789. In 1822, Crotch was appointed to the Royal Academy of Music as its first Principal, but resigned ten years later.[2] He spent his last years at his son's house in Taunton, Somerset, where he died suddenly in 1847. Among his notable pupils were William Sterndale Bennett, Lucy Anderson, Stephen Codman, George Job Elvey, Cipriani Potter, and Charles Kensington Salaman --en.wikipedia.org/
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