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[We praise thee, O God]
Appears in 7 hymnals Composer and/or Arranger: F. A. G. Ouseley, 1825-1889 Tune Key: F Major Incipit: 33514 43221 Used With Text: We Praise Thee, O God (Te Deum Laudamus)
[We praise thee, O God]
Magnificat (The Song of Mary)
Appears in 247 hymnals First Line: My soul doth magnify the Lord Lyrics: 1 My soul doth magnify the Lord:
and my spirit hath rejoiced in God my Saviour.
2 For He hath regarded:
the lowliness of His hand-maiden.
3 For behold, from henceforth:
all generations shall call me blessed.
4 For He that is mighty hath magnified me:
And holy is His Name.
5 And His mercy is on them that fear Him:
throughout all generations.
6 He hath showed strength with His arm:
He hath scattered the proud in the imagination of their hearts.
7 He hath put down the mighty from their sea:
and hath exalted the humble and meek.
8 He hath filled the hungry with good things:
and the rich He hath sent empty away.
9 He remembering His mercy hath holpen His servant Israel:
as He promised to our forefathers Abraham and his seed, for ever.
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: Doxologies, Ancient Hymns and Canticles Used With Tune: MAGNIFICAT
Magnificat (The Song of Mary)
Magnificat
Appears in 90 hymnals First Line: My soul doth magnify the Lord: and my spirit hath rejoiced in God my Saviour Scripture: Luke 1:46 Used With Tune: [My soul doth magnify the Lord] (Ouseley)
Magnificat
Te Deum Laudamus
Appears in 374 hymnals First Line: We praise thee O God; we acknowledge thee to be the Lord Lyrics: 1 We praise thee O God; we acknowledge thee to be the Lord.
All the earth doth worship thee, the Father everlasting.
2 To thee all Angels cry aloud;
the Heaven, and all the Powers therein;
To thee Cherubim and Seraphim continually do cry,
3 Holy Holy Holy Lord God of Sabaoth;
Heaven and earth are full of the Majesty of thy glory.
4 The glorious company of the Apostles praise thee.
The goodly fellowship of the Prophets praise thee.
5 The noble army of Martyrs praise thee.
The holy Church throughout the world doth acknowledge thee;
6 The Father of an infinite Majesty;
Thine adorable true and only Son;
Also the Holy Ghost the Comforter.
7 Thou art the King of Glory O Christ.
Thou art ever lasting Son of the Father.
8 When thou tookest upon thee to deliver man,
thou didst humble thyself to be born of a Virgin.
9 When thou hadst overcome the sharpness of death,
thou didst open the Kingdom of Heaven to all believers.
10 Thou sittest at the right hand of God,
in the glory of the Father.
11 We believe that thou shalt come to be our Judge.
We therefore pray thee help thy servants,
whom thou hast redeemed with thy precious blood.
12 Make them to be numbered with thy Saints,
in glory ever lasting.
13 O LORD save thy people and bless thine heritage.
Govern them and lift them up for ever.
14 Day be day we magnify thee;
And we worship thy Name ever world without end.
15 Vouchsafe O Lord to keep us this day without sin.
O Lord have mercy upon us, have mercy upon us.
16 O Lord let thy mercy be upon us, as our trust is in thee.
O Lord in thee have I trusted;
let me never be confounded.
Used With Tune: [We praise thee, O God]
Te Deum Laudamus
Jubilate Deo
Hymnal: The Book of Common Praise #C58 (1939) First Line: O be joyful in the Lord all ye lands Tune Title: [O be joyful in the Lord all ye lands]
Jubilate Deo
Bonum Est Confiteri
Hymnal: The Hymnal, Revised and Enlarged, as adopted by the General Convention of the Protestant Episcopal Church in the United States of America in the year of our Lord 1892 #C49 (1894) First Line: It is a good thing to give thanks unto the Lord Lyrics: 1 It is a good thing to give thanks unto the LORD and to sing praises unto thy Name, O Most Highest;
2 To tell of thy loving-kindness early in the morning and of thy truth in the night season;
3 Upon an instrument of ten strings and upon the lute, upon a loud instrument and upon the harp.
4 For thou, LORD, hast made me glad through thy works and I will rejoice in giving praise for the operations of thy hands.
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.
Scripture: Psalm 92 Tune Title: [It is a good thing to give thanks]
Bonum Est Confiteri
We Praise Thee, O God (Te Deum Laudamus)
Hymnal: Pilgrim Hymnal #559b (1958) First Line: We praise thee, O God Topics: Morning Canticles Languages: English Tune Title: [We praise thee, O God]
We Praise Thee, O God (Te Deum Laudamus)
F. A. Gore Ouseley
1825 - 1889 Person Name: F. A. G. Ouseley, 1825-1889 Composer of "[We praise thee, O God]" in Pilgrim Hymnal Born: August 12, 1825, London, England.
Died: April 6, 1889, Hereford, England.
Buried: Church of St. Michael and All Angels, Tenbury Wells, Hereford and Worcester, England.
Gore-Ouseley was educated at Oxford University (BA 1846, MA 1849, DMus 1854), and was ordained in 1849. In 1855, he was appointed Oxford Professor of Music, succeeding Henry Bishop. At that time, Oxford music degrees were easy to obtain, as there were no conditions of residence. Candidates only had to submit a musical composition, (e.g., for choir or orchestra). This was then approved by the examiner, rehearsed and performed to a small, select audience at Oxford. As far as Ouseley was concerned, this only meant two or three trips to Oxford each year, usually for two or three days each time, as there was no music "taught" in the university and very little in Oxford itself at the time.
Also in 1855, Ouseley was appointed Precentor of Hereford Cathedral, a post he held for the next 30 years, before becoming a Canon there. Although theoretically in charge of the cathedral choir, Ouseley only had to be in residence at the cathedral two months each year, and he arranged these to take place during the summer vacation, when he was not required to be at his College, although such was his commitment that he did make regular visits to the cathedral, which was only 18 miles from his College at St. Michael’s.
His College of St. Michael’s, Tenbury, a "model" choir school, opened in 1856, mostly at his own expense. He founded the College and was its first Warden, which was the greater part of his work for the next 33 years.
Ouseley’s compositions covered a wide range: operas, songs, chamber music and organ pieces. His works include the following treatises:
Harmony (London: 1868)
Counterpoint (London: 1869)
Canon and Fugue (London: 1869)
Form and General Composition (London: 1875)
--www.hymntime.com/tch/
F. A. Gore Ouseley
William Crotch
1775 - 1847 Person Name: William Crotch (1775-1847) Composer (Verses 7 to 12) of "[We praise Thee, O God; we acknowledge Thee to be the Lord]" in The Hymnbook 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/
William Crotch
