Hymn Desk
Hymn Tunes /

CANONBURY

Derived from the fourth piano piece in Robert A. Schumann’s Nachtstucke, Opus 23 (1839), CANONBURY first appeared as a hymn tune in J. Ireland Tucker’s Hymnal with Tunes, Old and New (1872). The tune, whose title refers to a street and square in Islington, London, England, is often matched to Havergal’s text. CANONBURY has a simple binary form, which consists of two versions of the same long melody. Sing in parts, ideally with a sense of two long lines rather than four choppy phrases, possibly with a fermata at the end of the first long line. Robert Schumann (b. Zwickau, Saxony, Germany, 1810; d. Endenich, near Bonn, Germany, 1856) wrote no hymn tunes himself, though a few of his lyrical melodies were adapted into hymn tunes by hymnal editors. One of the greatest musicians of the Romantic period, Schumann did not at first seem destined for a musical career. Although he was a precocious piano player, his mother and his guardian insisted that he study for a legal career. From 1828 to 1830 he studied law at Leipzig and Heidelberg Universities, but much of his time was consumed with music and poetry. From 1830 until his death Schumann devoted his life to music. After a finger injury terminated his concert career as a pianist in 1832, he turned completely to composition. Schumann composed successfully in many genres but became especially famous for his piano works and song cycles. In 1840 he married Clara Wieck, whom he had known since 701 THE PSALMS, BIBLE SONGS, AND HYMNS 1828; [Liturgical Use] Worship that focuses on missions and evangelism (during Pentecost season) and on the “equipping of the saints for ministry.”

Stanza Arc

The narrative or theological arc traced by this tune's stanzas: From divine calling to missionary commission: the believer receives God's Word, develops compassionate hearts for the lost, practices faithful intercession, and participates in God's redemptive work until all creation glorifies Him

Associated Hymn Texts (18)