Note: The _Te Deum_ is a long Latin hymn of uncertain origin, constituting the supreme expression of rejoicing in the Roman Catholic, Anglican, and other Christian Churches. It is sometimes called the “Canticle of Ambrose and Augustine,” from the legend that at the baptism of Augustine by Ambrose it was sung antiphonally, extempore, by the two men. It dates back to the fourth or fifth century. Its contents are drawn from different sources: the Apostles’ Creed, the “Gloria in Excelsis,” and the Psalms (e.g. 28:9, 31:1, 33:22, 123:3, 145:2). Luther, who translated it into German, praised it as a “fine symbol or confession, not only for confessing the right faith but also for praising and thanking God withal.” A real confession of faith ought to be sung, and as such the _Te Deum_ has been on the lips of the Church, in one form or another, ever since it was composed. _MUSIC._ GROSSER GOTT, WIR LOBEN DICH is of unknown composition. The tune first appeared in the _Katholisches Gesangbuch_, a book undated but not earlier than 1774, set to the words, “Grosser Gott.” Its first appearance in a Protestant hymn book was in Schicht’s _Choral-Buch_, Leipzig, 1819. It was set to English words in _Melodia Sacra_, Dublin, 1844, to the hymn, “Jesus, and shall it ever be,” where the tune was modified to fit the words and named, “Stillorgan.” Later, under the name, “Hursley”, it became widely associated with Keble’s evening hymn, “Sun of my Soul” (No. 30). _St. Basil’s Hymnal_ (Roman Catholic, 1918), as well as the _Gesangbuch mit Noten_, attribute the tune to Peter Ritter; _Glaubensharfe_, to J. Haydn. There seems to be no good evidence for either. The English _Church Hymnary_, London, 1935, has set the tune, naming it “Pascal”, to Toplady’s “Rock of Ages.” In some of the books the last score is marked with a repeat sign for the sake of emphasis and climax. 520. Holy Lord, holy Lord _Anonymous_ The notes of thanksgiving and praise are dominant. The origin of the hymn has not been traced. _MUSIC._ FAHRE FORT, attributed erroneously in the _Hymnary_ to Johann E. Schmidt, is of anonymous origin. It appeared in Freylinghausen’s _Gesangbuch_, Halle, 1704, with the well-known hymn, “Fahre fort, fahre fort,” by Johann E. Schmidt, 1669-1745. The tune derived its name from this hymn. 521. All glory be to God on High _Nikolaus Decius_, _c._ 1490-1541 _Tr. Catherine Winkworth_, 1829-78 1. Allein Gott in der Höh’ sei Ehr’ Und Dank für seine Gnade, Darum dass nun und nimmermehr Uns rühren kann kein Schade. Ein Wohlgefall’n Gott an uns hat, Nun ist gross’ Fried’ ohn’ Unterlass, All’ Fehd’ hat nun ein Ende.