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Wie lieblich sind deine Wohnungen (How lovely are your dwelling places) is a sacred motet for four voices that Johann Hermann Schein, Thomaskantor in Leipzig, composed in 1628, setting verses 2–4 of Psalm 84 in German.
A German Requiem, to Words of the Holy Scriptures, Op. 45 (German: Ein deutsches Requiem, nach Worten der heiligen Schrift) by Johannes Brahms, is a large-scale work for chorus, orchestra, and soprano and baritone soloists, composed between 1865 and 1868.
Katherine Kennicott Davis, the composer of the Christmas carol "The Little Drummer Boy", set verses 1–3 (How Lovely Are Thy Dwellings) for voice and piano or organ in 1952. [39] Several songs and hymns are based on Psalm 84 or contain part of it, for example the Dutch "Wat hou ik van uw huis" from Psalmen voor Nu.
The Bow Street book, folksongs and part-songs for soprano, alto, and baritone, 1951, Birchard Music Carol of the Drum, Czech carol, SATB chorus, 1941, B.F. Wood Music Company Early American anthem book , anthem tunes and verses from the Colonial period in new settings, 1975, Galaxy Music
Gateway Worship performed the song on their album Living for You and added a chorus to the song, calling it "Come Thou Fount, Come Thou King". The hymn appears on Phil Wickham's album 'Sing-A-Long'. This song is also sung by Clark Davis in the film Love Comes Softly and is a recurring background music in the film.
How lovely are thy branches! Not only green when summer's here But in the coldest time of year. O Christmas tree, O Christmas tree, How lovely are thy branches! O Christmas tree, O Christmas tree, How sturdy God hath made thee! Thou bidd'st us all place faithfully Our trust in God, unchangingly! O Christmas tree, O Christmas tree,
Kathryn Sarah Scott (born 29 September 1974) [1] is a contemporary worship music songwriter and worship leader from Northern Ireland. She has written songs such as "Hungry", "At the Foot of the Cross", and "Search Me" for the worshipping church.
The full chorus sings the first half of this verse ("Thou turnest man to destruction"). Beginning in unison, as a collective address from mankind to God, the chorus sings the first three words, but then splits apart into a series of cacophonous chords, as in the first verse (a device used frequently in this piece), to align with the text, "to destruction", which is repeated thrice (another ...