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Hymns collected for the use of Saint Leonard's Church Flamstead (1856) [141] [142] Portions of the Psalms of David, with hymns on various subjects, selected and arranged for the use of the Congregation of the Parish Church of Bromley St. Leonard (1857) [143] Hymns Ancient and Modern (numerous editions, 1861–2013)
Today, the hymn is commonly sung to the tune St Catherine's Court. This tune was composed in 1925 by Richard Strutt for the golden jubilee in of the Girls' Friendly Society and published in their Jubilee Hymn Book. It was named the tune after Strutt's country house, St Catherine's Court. The hymn was published with this tune in the 1950 edition ...
St Clement (hymn tune) Stille Nacht; Straf mich nicht in deinem Zorn; Such, wer da will, ein ander Ziel; T. Thaxted (tune) Third Mode Melody; V. Valet will ich dir geben;
The hymn is most commonly set to [17] and was made famous by [18] the tune "St Fulbert" by Henry John Gauntlett, which first appeared in The Church Hymn and Tune Book (London, 1852). There it was used for the hymn "Now Christ, our Passover, is slain" and was known as "St Leofred".
"Song of Bernadette" is a song written by Jennifer Warnes, Leonard Cohen and Bill Elliott, and first recorded on Jennifer Warnes' 1986 album Famous Blue Raincoat. The title refers to Bernadette Soubirous , a young French girl in the mid-19th century who claimed to have seen the Virgin Mary on several occasions.
The hymn tune "St. Anne" (common metre 86.86) to which the text is most often sung was composed by William Croft in 1708 whilst he was the organist of St Anne's Church, Soho: hence the name of the tune. It first appeared anonymously in the Supplement to the New Version of the Psalms, 6th edition in 1708.
The tune is a more elemental distillation of earlier forms, such as "The Hielan's o' Scotland' [16] and "By the Banks of the Bann," also compiled in Joyce (1909). [17] The words of "Be Thou My Vision" were first combined with this tune in 1919 (harmonised by Leopold L Dix, 1861-1935), [2] and in a new version harmonised by David Evans in 1927. [18]
Johann Sebastian Bach's chorale harmonisations, alternatively named four-part chorales, are Lutheran hymn settings that characteristically conform to the following: four-part harmony; SATB vocal forces; pre-existing hymn tune allotted to the soprano part; text treatment: homophonic; no repetitions (i.e., each syllable of the hymn text is sung ...