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The text of "Come down, O Love divine" originated as an Italian poem, "Discendi amor santo" by the medieval mystic poet Bianco da Siena (1350-1399). The poem appeared in the 1851 collection Laudi Spirituali del Bianco da Siena of Telesforo Bini, and in 1861, the Anglo-Irish clergyman and writer Richard Frederick Littledale translated it into English.
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.
Johann Hermann Schein was Thomaskantor in Leipzig from 1616 to 1630. [1]: 15 He composed the motet possibly for the funeral of Maria Magdelena von Claußbruch in 1628; [2]: 40 she was buried on 2 April that year and the sermon was given to the psalm text, [2]: 321 verses 2–4 of Psalm 84 in Martin Luther's translation of the Bible into German. [3]
"The Lord's My Shepherd" is a Christian hymn. It is a metrical psalm commonly attributed to the English Puritan Francis Rous and based on the text of Psalm 23 in the Bible. The hymn first appeared in the Scots Metrical Psalter in 1650 traced to a parish in Aberdeenshire. [1]
"Song for Athene" (also known as "Alleluia. May Flights of Angels Sing Thee to Thy Rest") is a musical composition by British composer John Tavener with lyrics by Mother Thekla, an Orthodox nun, which is intended to be sung a cappella by a four-part (soprano, alto, tenor and bass) choir.
The hymn From all that dwell below the skies, a paraphrasing of Psalm 117 by Isaac Watts with the Doxology as the final verse, is commonly sung to the tune. [9] In the Sacred Harp and other shape note singing traditions, the tune is sung with the text "O Come, Loud Anthems Let Us Sing," a metrical paraphrase of Psalm 95 from Tate and Brady 's A ...
The hymn's lyrics refer to the heavenly host: "Thee we would be always blessing / serve thee with thy hosts above".. At its first appearance, the hymn was in four stanzas of eight lines (8.7.8.7.D), and this four-stanza version remains in common and current use to the present day, being taken up as early as 1760 in Anglican collections such as those by Madan (1760 and 1767), Conyers (1772 ...
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 ...