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Isaac Watts

1674 - 1748 Scripture: Isaiah 52:7-10 Author of "Hymn 10" in Psalms and Hymns of Isaac Watts, The Isaac Watts was the son of a schoolmaster, and was born in Southampton, July 17, 1674. He is said to have shown remarkable precocity in childhood, beginning the study of Latin, in his fourth year, and writing respectable verses at the age of seven. At the age of sixteen, he went to London to study in the Academy of the Rev. Thomas Rowe, an Independent minister. In 1698, he became assistant minister of the Independent Church, Berry St., London. In 1702, he became pastor. In 1712, he accepted an invitation to visit Sir Thomas Abney, at his residence of Abney Park, and at Sir Thomas' pressing request, made it his home for the remainder of his life. It was a residence most favourable for his health, and for the prosecution of his literary labours. He did not retire from ministerial duties, but preached as often as his delicate health would permit. The number of Watts' publications is very large. His collected works, first published in 1720, embrace sermons, treatises, poems and hymns. His "Horae Lyricae" was published in December, 1705. His "Hymns" appeared in July, 1707. The first hymn he is said to have composed for religious worship, is "Behold the glories of the Lamb," written at the age of twenty. It is as a writer of psalms and hymns that he is everywhere known. Some of his hymns were written to be sung after his sermons, giving expression to the meaning of the text upon which he had preached. Montgomery calls Watts "the greatest name among hymn-writers," and the honour can hardly be disputed. His published hymns number more than eight hundred. Watts died November 25, 1748, and was buried at Bunhill Fields. A monumental statue was erected in Southampton, his native place, and there is also a monument to his memory in the South Choir of Westminster Abbey. "Happy," says the great contemporary champion of Anglican orthodoxy, "will be that reader whose mind is disposed, by his verses or his prose, to imitate him in all but his non-conformity, to copy his benevolence to men, and his reverence to God." ("Memorials of Westminster Abbey," p. 325.) --Annotations of the Hymnal, Charles Hutchins, M.A., 1872. ================================= Watts, Isaac, D.D. The father of Dr. Watts was a respected Nonconformist, and at the birth of the child, and during its infancy, twice suffered imprisonment for his religious convictions. In his later years he kept a flourishing boarding school at Southampton. Isaac, the eldest of his nine children, was born in that town July 17, 1674. His taste for verse showed itself in early childhood. He was taught Greek, Latin, and Hebrew by Mr. Pinhorn, rector of All Saints, and headmaster of the Grammar School, in Southampton. The splendid promise of the boy induced a physician of the town and other friends to offer him an education at one of the Universities for eventual ordination in the Church of England: but this he refused; and entered a Nonconformist Academy at Stoke Newington in 1690, under the care of Mr. Thomas Rowe, the pastor of the Independent congregation at Girdlers' Hall. Of this congregation he became a member in 1693. Leaving the Academy at the age of twenty, he spent two years at home; and it was then that the bulk of the Hymns and Spiritual Songs (published 1707-9) were written, and sung from manuscripts in the Southampton Chapel. The hymn "Behold the glories of the Lamb" is said to have been the first he composed, and written as an attempt to raise the standard of praise. In answer to requests, others succeeded. The hymn "There is a land of pure delight" is said to have been suggested by the view across Southampton Water. The next six years of Watts's life were again spent at Stoke Newington, in the post of tutor to the son of an eminent Puritan, Sir John Hartopp; and to the intense study of these years must be traced the accumulation of the theological and philosophical materials which he published subsequently, and also the life-long enfeeblement of his constitution. Watts preached his first sermon when he was twenty-four years old. In the next three years he preached frequently; and in 1702 was ordained pastor of the eminent Independent congregation in Mark Lane, over which Caryl and Dr. John Owen had presided, and which numbered Mrs. Bendish, Cromwell's granddaughter, Charles Fleetwood, Charles Desborough, Sir John Hartopp, Lady Haversham, and other distinguished Independents among its members. In this year he removed to the house of Mr. Hollis in the Minories. His health began to fail in the following year, and Mr. Samuel Price was appointed as his assistant in the ministry. In 1712 a fever shattered his constitution, and Mr. Price was then appointed co-pastor of the congregation which had in the meantime removed to a new chapel in Bury Street. It was at this period that he became the guest of Sir Thomas Abney, under whose roof, and after his death (1722) that of his widow, he remained for the rest of his suffering life; residing for the longer portion of these thirty-six years principally at the beautiful country seat of Theobalds in Herts, and for the last thirteen years at Stoke Newington. His degree of D.D. was bestowed on him in 1728, unsolicited, by the University of Edinburgh. His infirmities increased on him up to the peaceful close of his sufferings, Nov. 25, 1748. He was buried in the Puritan restingplace at Bunhill Fields, but a monument was erected to him in Westminster Abbey. His learning and piety, gentleness and largeness of heart have earned him the title of the Melanchthon of his day. Among his friends, churchmen like Bishop Gibson are ranked with Nonconformists such as Doddridge. His theological as well as philosophical fame was considerable. His Speculations on the Human Nature of the Logos, as a contribution to the great controversy on the Holy Trinity, brought on him a charge of Arian opinions. His work on The Improvement of the Mind, published in 1741, is eulogised by Johnson. His Logic was still a valued textbook at Oxford within living memory. The World to Come, published in 1745, was once a favourite devotional work, parts of it being translated into several languages. His Catechisms, Scripture History (1732), as well as The Divine and Moral Songs (1715), were the most popular text-books for religious education fifty years ago. The Hymns and Spiritual Songs were published in 1707-9, though written earlier. The Horae Lyricae, which contains hymns interspersed among the poems, appeared in 1706-9. Some hymns were also appended at the close of the several Sermons preached in London, published in 1721-24. The Psalms were published in 1719. The earliest life of Watts is that by his friend Dr. Gibbons. Johnson has included him in his Lives of the Poets; and Southey has echoed Johnson's warm eulogy. The most interesting modern life is Isaac Watts: his Life and Writings, by E. Paxton Hood. [Rev. H. Leigh Bennett, M.A.] A large mass of Dr. Watts's hymns and paraphrases of the Psalms have no personal history beyond the date of their publication. These we have grouped together here and shall preface the list with the books from which they are taken. (l) Horae Lyricae. Poems chiefly of the Lyric kind. In Three Books Sacred: i.To Devotion and Piety; ii. To Virtue, Honour, and Friendship; iii. To the Memory of the Dead. By I. Watts, 1706. Second edition, 1709. (2) Hymns and Spiritual Songs. In Three Books: i. Collected from the Scriptures; ii. Composed on Divine Subjects; iii. Prepared for the Lord's Supper. By I. Watts, 1707. This contained in Bk i. 78 hymns; Bk. ii. 110; Bk. iii. 22, and 12 doxologies. In the 2nd edition published in 1709, Bk. i. was increased to 150; Bk. ii. to 170; Bk. iii. to 25 and 15 doxologies. (3) Divine and Moral Songs for the Use of Children. By I. Watts, London, 1715. (4) The Psalms of David Imitated in the Language of the New Testament, And apply'd to the Christian State and Worship. By I. Watts. London: Printed by J. Clark, at the Bible and Crown in the Poultry, &c, 1719. (5) Sermons with hymns appended thereto, vol. i., 1721; ii., 1723; iii. 1727. In the 5th ed. of the Sermons the three volumes, in duodecimo, were reduced to two, in octavo. (6) Reliquiae Juveniles: Miscellaneous Thoughts in Prose and Verse, on Natural, Moral, and Divine Subjects; Written chiefly in Younger Years. By I. Watts, D.D., London, 1734. (7) Remnants of Time. London, 1736. 454 Hymns and Versions of the Psalms, in addition to the centos are all in common use at the present time. --Excerpts from John Julian, Dictionary of Hymnology (1907) ================================== Watts, I. , p. 1241, ii. Nearly 100 hymns, additional to those already annotated, are given in some minor hymn-books. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ================= Watts, I. , p. 1236, i. At the time of the publication of this Dictionary in 1892, every copy of the 1707 edition of Watts's Hymns and Spiritual Songs was supposed to have perished, and all notes thereon were based upon references which were found in magazines and old collections of hymns and versions of the Psalms. Recently three copies have been recovered, and by a careful examination of one of these we have been able to give some of the results in the revision of pp. 1-1597, and the rest we now subjoin. i. Hymns in the 1709 ed. of Hymns and Spiritual Songs which previously appeared in the 1707 edition of the same book, but are not so noted in the 1st ed. of this Dictionary:— On pp. 1237, L-1239, ii., Nos. 18, 33, 42, 43, 47, 48, 60, 56, 58, 59, 63, 75, 82, 83, 84, 85, 93, 96, 99, 102, 104, 105, 113, 115, 116, 123, 124, 134, 137, 139, 146, 147, 148, 149, 162, 166, 174, 180, 181, 182, 188, 190, 192, 193, 194, 195, 197, 200, 202. ii. Versions of the Psalms in his Psalms of David, 1719, which previously appeared in his Hymns and Spiritual Songs, 1707:— On pp. 1239, U.-1241, i., Nos. 241, 288, 304, 313, 314, 317, 410, 441. iii. Additional not noted in the revision:— 1. My soul, how lovely is the place; p. 1240, ii. 332. This version of Ps. lxiv. first appeared in the 1707 edition of Hymns & Spiritual Songs, as "Ye saints, how lovely is the place." 2. Shine, mighty God, on Britain shine; p. 1055, ii. In the 1707 edition of Hymns & Spiritual Songs, Bk. i., No. 35, and again in his Psalms of David, 1719. 3. Sing to the Lord with [cheerful] joyful voice, p. 1059, ii. This version of Ps. c. is No. 43 in the Hymns & Spiritual Songs, 1707, Bk. i., from which it passed into the Ps. of David, 1719. A careful collation of the earliest editions of Watts's Horae Lyricae shows that Nos. 1, 7, 9, 10, 11, 12, 14, 16, p. 1237, i., are in the 1706 ed., and that the rest were added in 1709. Of the remaining hymns, Nos. 91 appeared in his Sermons, vol. ii., 1723, and No. 196 in Sermons, vol. i., 1721. No. 199 was added after Watts's death. It must be noted also that the original title of what is usually known as Divine and Moral Songs was Divine Songs only. --John Julian, Dictionary of Hymnology, New Supplement (1907) =========== See also in: Hymn Writers of the Church

Charles Wesley

1707 - 1788 Person Name: Charles Wesley, 1707-1788 Scripture: Isaiah 52:7 Author of "Come, O Long Expected Jesus" in Gather Comprehensive Charles Wesley, M.A. was the great hymn-writer of the Wesley family, perhaps, taking quantity and quality into consideration, the great hymn-writer of all ages. Charles Wesley was the youngest son and 18th child of Samuel and Susanna Wesley, and was born at Epworth Rectory, Dec. 18, 1707. In 1716 he went to Westminster School, being provided with a home and board by his elder brother Samuel, then usher at the school, until 1721, when he was elected King's Scholar, and as such received his board and education free. In 1726 Charles Wesley was elected to a Westminster studentship at Christ Church, Oxford, where he took his degree in 1729, and became a college tutor. In the early part of the same year his religious impressions were much deepened, and he became one of the first band of "Oxford Methodists." In 1735 he went with his brother John to Georgia, as secretary to General Oglethorpe, having before he set out received Deacon's and Priest's Orders on two successive Sundays. His stay in Georgia was very short; he returned to England in 1736, and in 1737 came under the influence of Count Zinzendorf and the Moravians, especially of that remarkable man who had so large a share in moulding John Wesley's career, Peter Bonier, and also of a Mr. Bray, a brazier in Little Britain. On Whitsunday, 1737, [sic. 1738] he "found rest to his soul," and in 1738 he became curate to his friend, Mr. Stonehouse, Vicar of Islington, but the opposition of the churchwardens was so great that the Vicar consented that he "should preach in his church no more." Henceforth his work was identified with that of his brother John, and he became an indefatigable itinerant and field preacher. On April 8, 1749, he married Miss Sarah Gwynne. His marriage, unlike that of his brother John, was a most happy one; his wife was accustomed to accompany him on his evangelistic journeys, which were as frequent as ever until the year 1756," when he ceased to itinerate, and mainly devoted himself to the care of the Societies in London and Bristol. Bristol was his headquarters until 1771, when he removed with his family to London, and, besides attending to the Societies, devoted himself much, as he had done in his youth, to the spiritual care of prisoners in Newgate. He had long been troubled about the relations of Methodism to the Church of England, and strongly disapproved of his brother John's "ordinations." Wesley-like, he expressed his disapproval in the most outspoken fashion, but, as in the case of Samuel at an earlier period, the differences between the brothers never led to a breach of friendship. He died in London, March 29, 1788, and was buried in Marylebone churchyard. His brother John was deeply grieved because he would not consent to be interred in the burial-ground of the City Road Chapel, where he had prepared a grave for himself, but Charles said, "I have lived, and I die, in the Communion of the Church of England, and I will be buried in the yard of my parish church." Eight clergymen of the Church of England bore his pall. He had a large family, four of whom survived him; three sons, who all became distinguished in the musical world, and one daughter, who inherited some of her father's poetical genius. The widow and orphans were treated with the greatest kindness and generosity by John Wesley. As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly marvellous how many there are which rise to the highest degree of excellence. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumours of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his divine gift. Nor must we forget his hymns for little children, a branch of sacred poetry in which the mantle of Dr. Watts seems to have fallen upon him. It would be simply impossible within our space to enumerate even those of the hymns which have become really classical. The saying that a really good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley; for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream. It has been the common practice, however for a hundred years or more to ascribe all translations from the German to John Wesley, as he only of the two brothers knew that language; and to assign to Charles Wesley all the original hymns except such as are traceable to John Wesley through his Journals and other works. The list of 482 original hymns by John and Charles Wesley listed in this Dictionary of Hymnology have formed an important part of Methodist hymnody and show the enormous influence of the Wesleys on the English hymnody of the nineteenth century. -- Excerpts from John Julian, Dictionary of Hymnology (1907) ================== Charles Wesley, the son of Samuel Wesley, was born at Epworth, Dec. 18, 1707. He was educated at Westminster School and afterwards at Christ Church, Oxford, where he graduated M.A. In 1735, he took Orders and immediately proceeded with his brother John to Georgia, both being employed as missionaries of the S.P.G. He returned to England in 1736. For many years he engaged with his brother in preaching the Gospel. He died March 29, 1788. To Charles Wesley has been justly assigned the appellation of the "Bard of Methodism." His prominence in hymn writing may be judged from the fact that in the "Wesleyan Hymn Book," 623 of the 770 hymns were written by him; and he published more than thirty poetical works, written either by himself alone, or in conjunction with his brother. The number of his separate hymns is at least five thousand. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872.

Philipp Nicolai

1556 - 1608 Scripture: Isaiah 52:1-12 Author of "Wake, awake, for night is flying" in The Presbyterian Book of Praise Philipp Nicolai (b. Mengeringhausen, Waldeck, Germany, 1556; d. Hamburg, Germany, 1608) lived an eventful life–he fled from the Spanish army, sparred with Roman Catholic and Calvinist opponents, and ministered to plague-stricken congregations. Educated at Wittenberg University, he was ordained a Lutheran pastor in 1583 in the city of Herdecke. However, he was soon at odds with the Roman Catholic town council, and when Spanish troops arrived to reestablish Roman dominance, Nicolai fled. In 1588 he became chief pastor at Altwildungen and court preacher to Countess Argaretha of Waldeck. During that time Nicolai battled with Calvinists, who disagreed with him about the theology of the real presence of Christ in the Lord's Supper. These doctrinal controversies were renewed when he served the church in Unna, Westphalia. During his time as a pastor there, the plague struck twice, and Nicolai wrote both "How Bright Appears the Morning Star" and "Wake, Awake." Nicolai's last years were spent as Pastor of St. Katherine's Church in Hamburg. Bert Polman ===================== Nicolai, Philipp, D.D., son of Dieterich Nicolai, sometime Lutheran pastor at Herdecke, in Westphalia, and after 1552, at Mengeringhausen in Waldeck, was born at Mengeringhausen, August 10, 1556. (The father was son of Nicolaus Rafflenbol, of Rafflenbol, near Hagen, in Westphalia, and in later life had adopted the Latinised form Nicolai of his father's Christian name as his own surname.) In 1575 Nicolai entered the University of Erfurt, and in 1576 he went to Wittenberg. After completing his University course in 1579 (D.D. at Wittenberg July 4, 1594), he lived for some time at Volkliardinghausen, near Mengeringhausen, and frequently preached for his father. In August, 1583, he was appointed Lutheran preacher at Herdecke, but found many difficulties there, the members of the Town Council being Roman Catholics. After the invasion by the Spanish troops in April, 1586, his colleague re-introduced the Mass, and Nicolai resigned his post. In the end of 15S6 he was appointed diaconus at Niederwildungen, near Waldeck, and in 1587 he became pastor there. He then became, in Nov. 1588, chief pastor at Altwildungen, and also court preacher to the widowed Countess Margafetha of Waldeck, and tutor to her son, Count Wilhelm Ernst. Here he took an active part on the Lutheran side in the Sacramentarian controversy, and was, in Sept. 1592, inhibited from preaching by Count Franz of Waldeck, but the prohibition was soon removed, and in the Synod of 1593 held at Mengeringhausen, he found all the clergy of the principality of Waldeck willing to agree to the Formula of Concord. In October, 1596, he became pastor at Unna, in Westphalia, where he again became engaged in heated controversy with the Calvinists; passed through a frightful pestilence (see below); and then on Dec. 27, 1598, had to flee before the invasion of the Spaniards, and did not return till the end of April, 1599. Finally, in April 1601, he was elected chief pastor of St. Katherine's Church, at Hamburg, where he entered on his duties Aug. 6, 1601. On Oct. 22, 1608, he took part in the ordination of a colleague in the St. Katherine's Church, the diaconus Penshora, and returned home feeling unwell. A violent fever developed itself, under which he sank, and died Oct. 26, 1608 (D. Philipp Nicolai’s Leben und Lieder, by L. Curtze, 1859; Koch, ii. 324; Allgemeine Deutsche Biographie xxiii. 607, &c). In Hamburg Nicolai was universally esteemed, was a most popular and influential preacher, and was regarded as a "pillar" of the Lutheran church. In his private life he seems to have been most lovable and estimable. Besides his fame as a preacher, his reputation rests mainly on his hymns. His printed works are mostly polemical, often very violent and acrid in tone, and such as the undoubted sincerity of his zeal to preserve pure and unadulterated Lutheranism may explain, but cannot be said to justify. Of his hymns only four seem to have been printed. Three of Nicolai's hymns were first published in his devotional work entitled Frewden-Spiegel dess ewigen Lebens, published at Frankfurt-am-Main, 1599 (see further below). The two noted here ("Wachet auf” and “Wie schon") rank as classical and epoch-making. The former is the last of the long series of Watchmen's Songs. The latter marks the transition from the objective churchly period to the more subjective and experimental period of German hymn writing; and begins the long series of Hymns of Love to Christ as the Bridegroom of the Soul, to which Franck and Scheffler contributed such beautiful examples. Both are also worthy of note for their unusual and perfect rhythms, and for their splendid melodies. They are:— i. Wachet auf, ruft uns die Stimme. Eternal Life. This beautiful hymn, one of the first rank, is founded on St. Matt. xxv. 1-13; Rev. xix. 6-9, and xxi. 21; 1 Cor. ii. 9; Ezek. iii. 17; and Is. lii. 8. It first appeared in the Appendix to his Frewden-Spiegel, 1599, in 3 st. of 10 1., entitled "Of the Voice at Midnight, and the Wise Virgins who meet their Heavenly Bridegroom. Matt. 25." Thence in Wackernagel v. p. 259, the Unverfälschter Liedersegen, 1851, No. 690, and most German collections. It is a reversed acrostic, W. Z. G. for the Graf zu Waldeck, viz. his former pupil Count Wilhelm Ernst, who died at Tübingen Sept. 16, 1598, in his fifteenth year. It seems to have been written in 1597 at Unna, in Wesphalia, where Nicolai was then pastor; and during the terrible pestilence which raged there from July, 1597, to January, 1598, to which in July 300, in one week in August 170, and in all over 1300 fell victims. Nicolai's parsonage overlooked the churchyard, and there daily interments took place, often to the number of thirty. In these days of distress, when every household was in mourning, Nicolai's thoughts turned to Death, and thence to God in Heaven, and to the Eternal Fatherland. Jn the preface (dated Aug. 10, 1598) to his Frewden-Spiegel he says: "There seemed to me nothing more sweet, delightful and agreeable, than the contemplation of the noble, sublime doctrine of Eternal Life obtained through the Blood of Christ. This I allowed to dwell in my heart day and night, and searched the Scriptures as to what they revealed on this matter, read also the sweet treatise of the ancient doctor Saint Augustine [De Civitate Dei]. ..... Then day by day I wrote out my meditations, found myself, thank God! wonderfully well, comforted in heart, joyful in spirit, and truly content; gave to my manuscript the name and title of a Mirror of Joy, and took this so composed Frewden-Spiegel to leave behind me (if God should call me from this world) as the token of my peaceful, joyful, Christian departure, or (if God should spare me in health) to comfort other sufferers whom He should also visit with the pestilence .... Now has the gracious, holy God most mercifully preserved me amid the dying from the dreadful pestilence, and wonderfully spared me beyond all my thoughts and hopes, so that with the Prophet David I can say to Him "0 how great is Thy goodness, which Thou hast laid up for them that fear Thee," &c. The hymn composed under these circumstances (it may be stated that Curtze thinks both hymns were written in 1596, while Nicolai was still at Alt-Wildungen) soon became popular, and still retains its place, though often altered in the 3rd stanza. Probably the opening lines; "Wachet auf! ruft uns die Stimme Der Wachter sehr hoch auf der Zinne" are borrowed from one of the Wächter-Lieder, a form of lyric popular in the Middle Ages, introduced by Wolfram von Eschenbach. (See K. Goedeke's Deutsche Dichtung im Mittelalter, 1871, p. 918.) But while in the Songs the voice of the Watchman from his turret summons the workers of darkness to flee from discovery, with "Nicolai it is a summons to the children of light to awaken to their promised reward and full felicity. The melody appeared first along with the hymn, and is also apparently by Nicolai, though portions of it (e.g. 1. 1 by the Gregorian Fifth Tone) may have been suggested by earlier tunes. It has been called the King of Chorales, and by its majestic simplicity and dignity it well deserves the title. Since its use by Mendelssohn in his St. Paul it has become well known in England, and, in its original form, is given in Miss Winkworth's Chorale Book for England, 1863 (see below). Translations in common use:— 1. Sleepers wake, a voice is calling. This is an unrhymed translation of st. i. by W. Ball in his book of words to Mendelssohn's oratorio of St. Paul, 1836. This form is in Horder's Congregational Hymns, 1884, and others. In the South Place [London] Collection, 1873, it is a recast by A. J. Ellis, but opens with the same first line. In the Parish Hymn Book, 1875, a translation of st. ii., also unrhymed, is added. 2. "Wake ye holy maidens, wake ye. A good translation contributed by Philip Pusey to A. R. Reinagle's Collection of Psalm and Hymn Tunes, Oxford, 1840, p. 134. It was considerably altered, beginning "Wake, ye holy maidens, fearing" in the Salisbury Hymn Book, 1857, and this is repeated, with further alterations, in Kennedy, 1863, and the Sarum Hymnal, 1868. 3. Wake, arise! the call obeying. A good translation by A. T. Russell, as No. 110 in the Dalston Hospital Hymn Book 1848. 4. Wake, oh wake; around are flying. This is a recast, by A. T. Russell, not for the better, from his 1848 translation, as No. 268 in his Psalms & Hymns. 1851, st. iii. being omitted. Thence, unaltered, in the New Zealand Hymnal, 1872. 5. Wake, awake, for night is flying. A very good translation by Miss Winkworth, in her Lyra Germanica, 2nd Ser., 1858, p. 225, repeated in her Chorale Book for England, 1863, No. 200, with st. ii., 11. 7, 8, rewritten. Included in the English Presbyterian Psalms & Hymns, 1867; Scottish Presbyterian Hymnal, 1876, &c.; and in America, in Laudes Domini, 1884, and others. In the Cantate Domino, Boston, U. S., 1859, it begins "Awake, awake, for night is flying." 6. Wake! the startling watch-cry pealeth. By Miss Cox, in Lyra Messianica, 1864, p. 4, and her Hymns from the German, 1864, p. 27; repeated in W. F. Stevenson's Hymns for Church and Home, 1873. The version in J. L. Porter's Collection, 1876, takes st. i., 11. 1-4 from Miss Cox. The rest is mainly from R. C. Singleton's translation in the Anglican Hymn Book, but borrows lines also from Miss Winkworth, and from the Hymnary text. 7. Wake! the watchman's voice is sounding. By R. C.Singleton. This is No. 259 in the Anglican Hymn Book, 1868, where it is marked as a "versification by R. C. Singleton, 1867." 8. Wake, awake, for night is flying. This is by Canon W. Cooke, in the Hymnary, 1871, and signed A. C. C. In the edition of 1872, 11. 7, 8 of st. ii. are recast, and the whole is marked as " based on E. A. Dayman." It is really a cento, four lines of the 1872 text (i., 1. 5; ii., 11. 7, 8; iii., 1. 9) being by Canon Cooke; and the rest being adapted from the versions of P. Pusey as altered in the Sarum Hymnal, of Miss Winkworth, of Miss Cox, and of R. C. Singleton. It may be regarded as a success, and as passed into the Society for Promoting Christian Knowledge Church Hymns, 1871; the 1874 Appendix to the New Congregational Hymn Book; Horder's Congregational Hymns, 1884, and others. 9. Wake, arise! the voice is calling. This is an anonymous translation in the Ohio Lutheran Hymnal, 1880. 10. Slumberers, wake, the Bridegroom cometh. A spirited version, based on Miss Winkworth (and with an original st. as iv.), by J. H. Hopkins in his Carols, Hymns & Songs, 3rd ed., 1882. p. 88, and dated 1866. Repeated in the Hymnal Companion (Reformed Episcopal) Philadelphia, U.S., 1885. Other translations are:— (1) “Awake, the voice is crying." In Lyra Davidica, 1108, p. 73. (2) "Awake! awake! the watchman calls." By Miss Fry, 1845, p. 33. (3) "Hark! the trump of God is sounding." By Dr. H. Mills, 1845 (1856, p. 269. This is from the altered form by F. G. Klopstock, in his Geistliche Lieder, 1758, p. 246, as further altered in Zollikofer's Gesang-Buch, 1766, No. 303, where it begins "Wachet auf! so ruft." (4) "Awake, arise, the voice gives warning." In the United Presbyterian Juvenile Missionary Magazine, 1857, p. 193; repeated in 1859, p. 171, beginning, “Awake, arise, it is the warning." (5) “Waken! From the tower it soundeth." By Mrs. Bevan, 1858, p. 1. (6) Up! awake! his summons hurried." By J. D.Burns, in the Family Treasury, 1860, p. 84, and his Memoir & Remains, 1869, p. 234. 11. Wie schön leuchtet der Morgenstern, Voll Gnad und Wahrheit von dem Herrn. Love to Christ. First published in theAppendix to his Frewden-Spiegel, 1599, in 7 stanzas of 10 lines entitled "A spiritual bridal song of the believing soul concerning Jesus Christ, her heavenly Bridegroom, founded on the 45th Psalm of the prophet David." Lauxmann, in Koch, viii. 271, thus gives an account of it as written during the Pestilence of 1597. He says Nicola was "One morning in great distress and tribulation in his quiet study. He rose in spirit from the distress and death which surrounded him to his Redeemer and Saviour, and while he clasped Him in ardent love there welled forth from the inmost depths of his heart this precious hymn of the Saviour's love and of the joys of Heaven. He was so entirely absorbed in this holy exaltation that he forgot all around him, even his midday meal, and allowed nothing to disturb him in his poetical labours till the hymn was completed "—-three hours after midday. As Nicolai was closely connected with Waldeck he formed with the initial letters of his stanzas the acrostic W. E. G. U. H. Z. W., viz. Wilhelm Ernst Graf Und Herr Zn Waldeck— his former pupil. The hymn has reminiscences of Eph. v., of Canticles, and of the Mediaeval Hymns to the Blessed Virgin Mary. It became at once a favourite in Germany, was reckoned indispensable at weddings, was often sung around death beds, &c. The original form is in Wackernagel v. p. 258, and the Unverfälschter Liedersegen, 1851, No. 437; but this (as will be seen by comparing Miss Winkworth's version of 1869) is hardly suited for present day congregational use. In Bunsen's Versuch, 1833, No. 554, it is slightly altered. The form in Knapp's Evangelischer Lieder-Schatz, 1837, No. 2074 (1865, No. 1810) is a recast by Knapp made on Jan. 14, 1832, and published in his Christoterpe, 1833, p. 285, preceded by a recast of "Wachet auf!"; both being marked as “rewritten according to the requirements of our times." The popularity of the hymn was greatly aided by its beautiful chorale (named by Mr. Mercer, Frankfort), which has been called "The Queen of Chorales," and to which many city chimes in Germany were soon set. It was published with the hymn, and is probably an original tune by Nicolai, though portions may have been suggested by earlier melodies, especially by the "Resonet in laudibus," which is probably of the 14th cent. (Bäumker i., No. 48, cites it from the Obsequiale, Ingolstadt, 1570. In Alton's Congregational Psalmist named Arimathea). Translations in common use:— 1. How bright appears the Morning Star! This is a full and fairly close version by J. C. Jacobi, in his Psalter Germanica, 1722, p. 90 (1732, p. 162); repeated, with alterations, in the Moravian Hymn Book, 1754, pt. i., No. 317 (1886, No. 360). The versions of st. v., vii. beginning, "The Father from eternity," are included in Aids to the Service of Song, Edinburgh N.D., but since 1860. In 1855 Mercer gave in his The Church Psalter & Hymn Book., as No. 15, a hymn in 4 stanzas of 10 lines, of which five lines are exactly from Jacobi. St. i., l1. 1-3; ii., .11. 8, 9 ; iii., 11. 2, 3, 6 ; iv., 1. 10, are exactly; and i., 1. 9; ii., 11. 2, 3, 6, 10; iii., II. 1, 4, 5; iv., 11. 7, 9 are nearly from the Moravian Hymn Book, 1801. The interjected lines are by Mercer, but bear very slight resemblance either to Nicolai's original text, or to any version of the German that we have seen. In his 1859 edition he further recast it, leaving only the first line unaltered from Jacobi; and this form is in his Oxford edition, 1864, No. 121, in the Irish Church Hymnal, 1869 and 1873, and in the Hymnal Companion 1870 and 1876. In Kennedy, 1863, the text of 1859 is given with alterations, and begins "How brightly dawns the Morning Star;" and this form is in the People's Hymnal, 1867; Dale's English Hymn Book 1874, &c. 2. How graciously doth shine afar. By A. T. Russell, as No. 8 in the Dalston Hospital Hymn Book, 1848, and repeated in the Cheltenham College Hymn Book, No. 37. It is a free translation of st. i., vi., v. 3. How lovely shines the Morning Star! A good and full translation by Dr. H. Harbaugh (from the text in Dr. Schaff’s Deutsches Gesang-Buch, 1860), in the German Reformed Guardian, May, 1860, p. 157. Repeated in full in Schaff's Christ in Song, 1869, and abridged in Adams's Church Pastorals, Boston, U.S.A., 1864. 4. 0 Morning Star! how fair and bright. A somewhat free translation of st. i., iii., iv., vii., by Miss Winkworth, as No.149 in her Chorale Book for England, 1863. Repeated in the Pennsylvania Lutheran Church Book, 1868; Ohio Lutheran Hymnal,1880, &c. 5. How brightly shines the Morning Star, In truth and mercy from afar. A translation of st. i., iii., iv., vii., by Miss Borthwick, as No. 239 in Dr. Pagenstecher's Collection, 1864. 6. How brightly glows the Morning Star. In full, from Knapp's German recast, by M. W. Stryker, in his Hymns & Verses, 1883, p. 52; repeated, omitting st. ii., iv., in his Christian Chorals, 1885, No. 145. Other translations are:— (1) "How fairly shines the Morning Star." In Lyra Davidica, 1708, p. 40. (2) "As bright the star of morning gleams" (st. i.) By W. Bartholomew, in his book of words to Mendelssohn's oratorio of Christus, 1852, p. 11. (3) "How lovely now the Morning Star." By Miss Cox, 1864, p. 229. (4) "How beauteous shines the Morning Star." By Miss Burlingham, in the British Herald, Oct. 1865, p. 152, and Reid's Praise Book, 1872. (5) "0 Morning Star, how fair and bright." By MissWinkworth, 1869, p. 160. (6) "How bright appears our Morning Star." By J. H. Hopkins, in his Carols, Hymns and Songs, 3rd ed., 1882, p. 168, and dated 1866. There are also three hymns in common use, which have generally been regarded as translations from Nicolai. They are noted as follows:—i. "Behold how glorious is yon sky" (see p. 127, ii.). ii. "How beautiful the Morning Star". iii. "How brightly shines the Morning Star! What eye descries it from afar". [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

Thomas Kelly

1769 - 1855 Scripture: Isaiah 52:7 Author of "On the Mountain's Top Appearing" in Timeless Truths Kelly, Thomas, B.A., son of Thomas Kelly, a Judge of the Irish Court of Common Pleas, was born in Dublin, July 13, 1769, and educated at Trinity College, Dublin. He was designed for the Bar, and entered the Temple, London, with that intention; but having undergone a very marked spiritual change he took Holy Orders in 1792. His earnest evangelical preaching in Dublin led Archbishop Fowler to inhibit him and his companion preacher, Rowland Hill, from preaching in the city. For some time he preached in two unconsecrated buildings in Dublin, Plunket Street, and the Bethesda, and then, having seceded from the Established Church, he erected places of worship at Athy, Portarlington, Wexford, &c, in which he conducted divine worship and preached. He died May 14, 1854. Miller, in his Singers & Songs of the Church, 1869, p. 338 (from which some of the foregoing details are taken), says:— "Mr. Kelly was a man of great and varied learning, skilled in the Oriental tongues, and an excellent Bible critic. He was possessed also of musical talent, and composed and published a work that was received witli favour, consisting of music adapted to every form of metre in his hymn-book. Naturally of an amiable disposition and thorough in his Christian piety, Mr. Kelly became the friend of good men, and the advocate of every worthy, benevolent, and religious cause. He was admired alike for his zeal and his humility; and his liberality found ample scope in Ireland, especially during the year of famine." Kelly's hymns, 765 in all, were composed and published over a period of 51 years, as follows:— (1) A Collection of Psalms and Hymns extracted from Various Authors, by Thomas Kelly, A.B., Dublin, 1802. This work contains 247 hymns by various authors, and an Appendix of 33 original hymns by Kelly. (2) Hymns on Various Passages of Scripture, Dublin, 1804. Of this work several editions were published: 1st, 1804; 2nd, 1806; 3rd, 1809; 4th, 1812. This last edition was published in two divisions, one as Hymns on Various Passages of Scripture, and the second as Hymns adapted for Social Worship. In 1815 Kelly issued Hymns by Thomas Kelly, not before Published. The 5th edition, 1820, included the two divisions of 1812, and the new hymns of 1815, as one work. To the later editions of 1820, 1826, 1836, 1840, 1846, and 1853, new hymns were added, until the last published by M. Moses, of Dublin, 1853, contained the total of 765. As a hymn-writer Kelly was most successful. As a rule his strength appears in hymns of Praise and in metres not generally adopted by the older hymn writers. His "Come, see the place where Jesus lay" (from "He's gone, see where His body lay"),"From Egypt lately come"; “Look, ye saints, the sight is glorious"; "On the mountain's top appearing"; "The Head that once was crowned with thorns"; "Through the day Thy love has spared us"; and “We sing the praise of Him Who died," rank with the first hymns in the English language. Several of his hymns of great merit still remain unknown through so many modern editors being apparently adverse to original investigation. In addition to the hymns named and others, which are annotated under their respective first lines, the following are also in common use:— i. From the Psalms and Hymns, 1802:— 1. Grant us, Lord, Thy gracious presence. Commencement of Divine Worship. 2. Jesus, Immortal King, go on [display]. Missions. 3. Saviour, through the desert lead us. Divine Guidance Desired. 4. The day of rest once more [again] comes round. Sunday. 5. We've no abiding city here. Seeking Heaven. ii. From the Hymns on Varous Passages of Scripture, first edition, 1804 :— 6. Boundless glory, Lord, be thine. Praise for the Gospel. 7. By whom shall Jacob now arise? Epiphany. 8. Glory, glory to our King. Praise to Christ as King. 9. How pleasant is the sound of praise. Praise for Redemption. 10. How sweet to leave the world awhile. In Retirement, or For a Retreat. 11. Inform I long had bowed the knee. Jesus, the Saviour, or Praise for Salvation. 12. It is finished! sinners, hear it. Good Friday. 13. Jesus, the Shepherd of the sheep. The Good Shepherd. 14. Let reason vainly boast her power. Death. 15. Poor and afflicted, Lord, are Thine. Affliction. 16. Praise we Him to Whose kind favour. Close of Service. 11. Spared a little longer. Safety in God. 18. Stricken, smitten, and afflicted. Passiontide. ii. From the Hymns, &c, second edition, 1806:— 19. Far from us be grief and sadness. Joy of Believers. 20. Give us room that we may dwell. Missions. 21. Glory, glory everlasting. Praise of Jesus. 22. God has.turned my grief to gladness. Joy after Sorrow. 23. Happy they who trust in Jesus. Peace in Jesus. 24. Hark, the notes of angels singing. Angels praising Jesus. 25. Hark! 'tis a martial sound. Christian Life a Warfare. 26. I hear a sound [voice] that comes from far. The Gospel Message. 27. Jesus is gone up on high. Divine Worship. 28. Now [O] may the Gospel's conquering power. Home Missions. In the 1853 edition of the Hymns it begins “O may the Gospel's conqu'ring force." 29. O Zion, when I think on thee. Desiring Heaven. 30. Praise the Saviour, ye who know Him. Praise of Jesus. 31. See from Zion's sacred mountain. The Fountain of Life. 32. The atoning work is done. Jesus the High Priest. 33. Zion is Jehovah's dwelling. The Church of God. 34. Zion stands by hills surrounded. The Safety of the Church. 35. Zion's King shall reign victorious. Missions. iv. From the Hymns, &c, 3rd edition, 1809:— 36. Behold the Temple of the Lord. The Church a Spiritual Temple. 37. Blessed Fountain, full of grace. Fountain for Sin. 38. Brethren, come, our Saviour bids us. Holy Communion. 39. Fly, ye seasons, fly still faster. Second Advent Desired. 40. God of Israel, we adore Thee. Evening. 41. Gracious Lord, my heart is fixed. Trust and Peace. 42. Hark, a voice! it comes from heaven. Death. 43. Hark, that shout of rapt'rous joy. Second Advent. 44. If our warfare be laborious. Labour and Rest . 45. Lo, He comes, let all adore Him. Missions. 46. Nothing know we of the season. Time of Second Advent uncertain. 47. O had I the wings of a dove. Holiness and Heaven desired. 48. O where is now that glowing love. Despondency. 49. Our Father sits on yonder throne. God the Father. 50. Ours is a rich and royal Feast. Holy Communion. 51. Shepherd of the chosen number. Safety in the Good Shepherd. 52. We're bound for yonder land. Life, a Voyage. 53. Welcome sight! the Lord descending. The Advent. 54. What is life? 'tis but a vapour. Death anticipated. 55. Who is this that comes from Edom? Ascension. 56. Why those fears ? Behold 'tis Jesus. Stilling the Sea. 57. Without blood is no remission. Passiontide. 58. Yes, we trust the day is breaking. Missions. v. FromHymns: Not before Published, 1815:— 59. Behold the Lamb with glory crowned. Exaltation of Christ. 60. God is love, His word has said it. God is Love. 61. God of our salvation, hear us. Opening or Close of Divine Worship. 62. In Thy Name, O Lord, assembling. Commencement of Divine Worship. 63. Keep us, Lord, O [and] keep us ever. Divine Worship. 64. Let sinners saved give thanks, and sing. Praise for Salvation. 65. Praise the Lord Who died to save us. Passiontide. 66. Salvation is of God alone. God the Author of Salvation. 67. Saviour, come, Thy [saints] friends await Thee [are waiting] . Second Advent desired. 68. Sweet were the sounds that reached our ears. Divine Mercy. 69. We'll sing of the Shepherd that died. The Lost Sheep. 70. When we cannot see our way. Trust and Peace. 71. Who is this that calms the ocean? Stilling the Sea. vi. From the Hymns on F. Passages of Scripture, &c, eds. 1820 and 1826 :-— 72. Grace is the sweetest sound. Divine Grace. 73. Now let a great effectual door. Missions. 74. Now may the mighty arm awake. Missions. 75. Now may the Spirit from above. Home Missions. 76. Sing, sing His lofty praise. Praise of Jesus. 77. Sound, 6ound the truth abroad. Missions. 78. Speed Thy servants, Saviour, speed them. Departure of Missionaries. vii. From the Hymns on Various Passages, &c, 1836:— 79. Come, O Lord, the heavens rending. Prayer for Blessings. 80. The night is far spent, the day is at hand. The Second Advent. viii. From the Hymns on Various Passages, &c, circa 1845:— 81. Joyful be the hours today. Sunday. 82. Lord, behold us few and weak. Opening of Divine Service. 83. Meet Thy people, Saviour, meet us. Meetings for Prayer. 84. Saviour, send a blessing to us. Prayer for Blessings. 85. Sing of Jesus, sing for ever. Praise of Jesus. ix. From the Hymns on Various Passages, &c, 1853:— 86. Precious volume, what thou doest. Holy Scripture. 87. Unfold to us, O Lord, unfold. Divine aid to reading Holy Scripture. All these hymns, together with those annotated under their respective first lines are in the 1853 edition of Kelly's Hymns published in Dublin by M. Moses, and in London by Simpkin, Marshall & Co. Kelly's musical editions are issued by the same publishers. -- John Julian, Dictionary of Hymnology (1907) ================== Kelly, Thomas, p. 615, i. Other hymns in common use are: 1. Behold the Man! How glorious He. (1809.) Good Friday. 2. Jesus the [Thou] Shepherd of the Sheep. (1804.) Good Shepherd. 3. Saved ourselves by Jesu's blood. (1802.) For a Revival. 4. Saviour, 'tis to [unto] Thee. (1853*.) Lent. 5. See the vineyard lately planted. (1806.) Missions. Sometimes given as "See, O Lord, the vineyard planted." 6. Sing aloud to God our strength. (1809.) Praise to the Father. 7. Sing, sing His lofty praise. (1820.) Praise to Jesus. Sometimes as "Hail our eternal King" (p. 615, No. 76). 8. Sing of Him Who bore our guilt. (1853*.) Praise to Jesus. 9. Sing we praise to God above, God our Saviour, &c. (1815.) Praise for Divine Mercy. 10. Sing we praise to God above, Sing we praise, &c. (1853*.) Praise. 11. Sons of Zion, raise your songs. (1820-26) The Exalted Saviour. 12. The Lord Himself will keep. (1809.) From “We're bound for yonder land" (sec p. 615, No. 52.) 13. The God [Lord] of glory dwells on high. (1809.) Humility and Love of Christ. 14. The people of the Lord Are on their way, &c. (1820.) Life a Pilgrimage. 15. Thus saith God of His Anointed. (1809.) Missions. 16. 'Tis to us no cause of sorrow. (1815.) Resignation. 17. To the Ark away, or perish. (1815.) Safety in Jesus only. 18. To our Lord a throne is given. (1838.) Christ the King. 19. Trust ye in the Lord for ever. (1853*.) Trust in God. 20. We'll sing in spite of scorn. (1806.) Christmas. From this "The long-expected morn" is taken. 21. What tongue can tell, what fancy paint. (1806.) Saints in Glory 22. What were Sinai's awful wonders. (1809.) Advent. 23. Whence those sounds symphonious? (1815.) Christmas. 24. While in the [this] world we still [yet] remain. (1806.) Communion of Saints. 25. Yes, 'tis a rough and thorny road. (1809.) Resignation. Sometimes given as "Though rough and thorny be the way." The dates given above are those of the various editions of Kelly's Hymns. The date 1853* indicates that the hymn is in the 1853 ed. of the Hymns, but had also appeared in a previous edition which we have not seen. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Jacques Berthier

1923 - 1994 Person Name: Jacques Berthier, 1923-1994 Scripture: Isaiah 52:10 Composer of "[Prepare the way of the Lord]" in Sing! A New Creation Jacques Berthier (b. Auxerre, Burgundy, June 27, 1923; d. June 27, 1994) A son of musical parents, Berthier studied music at the Ecole Cesar Franck in Paris. From 1961 until his death he served as organist at St. Ignace Church, Paris. Although his published works include numerous compositions for organ, voice, and instruments, Berthier is best known as the composer of service music for the Taizé community near Cluny, Burgundy. Influenced by the French liturgist and church musician Joseph Gelineau, Berthier began writing songs for equal voices in 1955 for the services of the then nascent community of twenty brothers at Taizé. As the Taizé community grew, Berthier continued to compose most of the mini-hymns, canons, and various associated instrumental arrangements, which are now universally known as the Taizé repertoire. In the past two decades this repertoire has become widely used in North American church music in both Roman Catholic and Protestant traditions. Bert Polman

Frances Ridley Havergal

1836 - 1879 Person Name: Frances R. Havergal Scripture: Isaiah 52:7 Author of "Take My Life and Let It Be Consecrated" in The Worshiping Church Havergal, Frances Ridley, daughter of the Rev. W. H. Havergal, was born at Astley, Worcestershire, Dec. 14, 1836. Five years later her father removed to the Rectory of St. Nicholas, Worcester. In August, 1850, she entered Mrs. Teed's school, whose influence over her was most beneficial. In the following year she says, "I committed my soul to the Saviour, and earth and heaven seemed brighter from that moment." A short sojourn in Germany followed, and on her return she was confirmed in Worcester Cathedral, July 17, 1853. In 1860 she left Worcester on her father resigning the Rectory of St. Nicholas, and resided at different periods in Leamington, and at Caswall Bay, Swansea, broken by visits to Switzerland, Scotland, and North Wales. She died at Caswell Bay, Swansea, June 3, 1879. Miss Havergal's scholastic acquirements were extensive, embracing several modern languages, together with Greek and Hebrew. She does not occupy, and did not claim for herself, a prominent place as a poet, but by her distinct individuality she carved out a niche which she alone could fill. Simply and sweetly she sang the love of God, and His way of salvation. To this end, and for this object, her whole life and all her powers were consecrated. She lives and speaks in every line of her poetry. Her poems are permeated with the fragrance of her passionate love of Jesus. Her religious views and theological bias are distinctly set forth in her poems, and may be described as mildly Calvinistic, without the severe dogmatic tenet of reprobation. The burden of her writings is a free and full salvation, through the Redeemer's merits, for every sinner who will receive it, and her life was devoted to the proclamation of this truth by personal labours, literary efforts, and earnest interest in Foreign Missions. [Rev. James Davidson, B.A.] Miss Havergal's hymns were frequently printed by J. & R. Parlane as leaflets, and by Caswell & Co. as ornamental cards. They were gathered together from time to time and published in her works as follows:— (1) Ministry of Song, 1869; (2) Twelve Sacred Songs for Little Singers, 1870; (3) Under the Surface, 1874; (4) Loyal Responses, 1878; (5) Life Mosaic, 1879; (6) Life Chords, 1880; (7) Life Echoes, 1883. About 15 of the more important of Miss Havergal's hymns, including "Golden harps are sounding," "I gave my life for thee," "Jesus, Master, Whose I am," "Lord, speak to me," "O Master, at Thy feet," "Take my life and let it be," "Tell it out among the heathen," &c, are annotated under their respective first lines. The rest, which are in common use, number nearly 50. These we give, together with dates and places of composition, from the Havergal mss. [manuscript], and the works in which they were published. Those, and they are many, which were printed in Parlane's Series of Leaflets are distinguished as (P., 1872, &c), and those in Caswell’s series (C., 1873, &c). 1. A happy New Year! Even such may it be. New Year. From Under the Surface, 1874. 2. Certainly I will be with thee. Birthday. Sept. 1871, at Perry Barr. (P. 1871.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 3. Church of God, beloved and chosen. Sanctified in Christ Jesus, 1873. (P. 1873.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 4. God Almighty, King of nations. Sovereignty of God. 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879. 5. God doth not bid thee wait. God faithful to His promises. Oct. 22, 1868, at Oakhampton. (P. 1869.) Published in Ministry of Song, 1869, and Life Mosaic, 1879. 6. God of heaven, hear our singing. A Child's hymn for Missions. Oct. 22, 1869, at Leamington. Published in her Twelve Sacred Songs for Little Singers, 1870, and her Life Chords, 1880. 7. God will take care of you, All through the day. The Good Shepherd. In Mrs. Brock's Children's Hymn Book, 1881. 8. God's reiterated all. New Year. 1873, at Winterdyne. (C. 1873.) Published in Loyal Responses, 1878, and Life Mosaic, 1879. 9. Have you not a word for Jesus? Boldness for the Truth. Nov. 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 10. He hath spoken in the darkness. Voice of God in sorrow. June 10,1869, at Neuhausen. (P. 1870.) Published in Under the Surface, 1874, and in Life Mosaic, 1879. 11. Hear the Father's ancient promise. Promise of the Holy Spirit. Aug. 1870. Published in Under the Surface, 1874, and Life Mosaic, 1879. 12. Holy and Infinite! Viewless, Eternal. Infinity of God. 1872. Published in Under the Surf ace, 1874, and L. Mosaic, 1879. 13. Holy brethren, called and chosen. Election a motive for Earnestness. 1872. Published in Snepp's Songs of Grace & Glory, 1876. 14. I am trusting Thee, Lord Jesus. Faith. Sept. 1874, at Ormont Dessona. (P. 1874.) Published in Loyal Responses, 1878, and Life Chords, 1880. Miss Havergal’s tune, Urbane (Snepp's Songs of Grace & Glory, 1048), was composed for this hymn. The hymn was the author's "own favourite," and was found in her pocket Bible after her death. 15. I bring my sins to Thee. Besting all on Jesus. June, 1870. (P. 1870.) Printed in the Sunday Magazine, 1870, and Home Words, 1872. Published in Under the Surface, 1874, and Life Chords, 1880. 16. I could not do without Thee. Jesus All in All. May 7, 1873. (P. 1873.) Printed in Home Words, 1873, and published in Under the Surface, 1874, and Life Mosaic, 1879. 17. In full and glad surrender. Confirmation. Miss Havergal's sister says this hymn was “The epitome of her [Miss F. R. H.'s] life and the focus of its sunshine." It is a beautiful hymn of personal consecration to God at all times. 18. In the evening there is weeping. Sorrow followed by Joy. June 19, 1869, at the Hotel Jungfraublick, Interlaken. "It rained all day, except a very bright interval before dinner. Curious long soft white clouds went slowly creeping along the Scheinige Platte; I wrote “Evening Tears and Morning Songs” (Marg. reading of Ps. xxx. 5.)" (P. 1870.) Published in Under the Surface, 1874. 19. Increase our faith, beloved Lord. Increase of Faith desired. In Loyal Responses, 1878, in 11 stanzas of 4 lines, on St. Luke xvii. 5. It is usually given in an abridged form. 20. Is it for me, dear Saviour? Heaven anticipated. Nov. 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 21. Israel of God, awaken. Christ our Righteousness. May, 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 22. Jehovah's covenant shall endure. The Divine Covenant, 1872. Published in Snepp's Songs of Grace & Glory, 1876. 23 Jesus, blessed Saviour. New Year, Nov. 25, 1872, at Leamington. (P. 1873.) Printed in the Dayspring Magazine, Jan. 1873, and published in Life Chords, 1880. 24. Jesus only! In the shadow. Jesus All in All. Dec. 4, 1870, at Pyrmont Villa. (P. & C. 1871.) Published in Under the Surface, 1874, and in Life Mosaic, 1879. 25. Joined to Christ by [in] mystic union. The Church the Body of Christ. May, 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, Life Mosaic, 1879. 26. Just when Thou wilt, 0 Master, call. Resignation. In Loyal Responses, 1878, in 5 stanzas of 4 lines, and Whiting's Hymns for the Church Catholic, 1882. 27. King Eternal and Immortal. God Eternal. Written at Perry Villa, Perry Barr, Feb. 11, 1871, and Published in Snepp's Songs of Grace & Glory, 1876; Under the Surface, 1874 ; and Life Mosaic, 1879. 28. Light after darkness, Gain after loss. Peace in Jesus, and the Divine Reward. In Sankey's Sacred Songs and Solos, from her Life Mosaic, 1879. 29. Like a river glorious, Is God's perfect Peace. Peace. In her Loyal Responses, 1878, in 3 st. of 8 1., with the chorus, "Stayed upon Jehovah." In several collections. 30. Master, speak! Thy servant heareth. Fellowship with and Assistance from Christ desired. Sunday evening, May 19, 1867, at Weston-super-Mare. Published in Ministry of Song, 1869, and L. Mosaic, 1879. It is very popular. 31. New mercies, new blessings, new light on thy way. New Life in Christ. 1874, at Winterdyne. (C. 1874.) Published in Under His Shadow, 1879, Life Chords, 1880. 32. Not your own, but His ye are. Missions. Jan. 21, 1867. (C. 1867.) Published in Ministry of Song, 1869; Life Mosaic, 1879; and the Hymnal for Church Missions, 1884. 33. Now let us sing the angels' song. Christmas. In her Life Mosaic, 1879; and W. B. Stevenson's School Hymnal, 1880. 34. Now the daylight goes away. Evening. Oct. 17, 1869, at Leamington. Published in Songs for Little Singers, 1870, and Life Chords, 1880. It originally read, " Now the light has gone away." 35. Now the sowing and the weeping. Sorrow followed by Joy. Jan. 4, 1870, at Leamington. Printed in Sunday at Home, 1870 ; and published in Under the Surface, 1874, and L. Mosaic, 1879. 36. 0 Glorious God and King. Praise to the Father, Feb. 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879. 37. 0 Saviour, precious [holy] Saviour. Christ worshipped by the Church. Nov. 1870, at Leamington. (P. 1870.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 38. O thou chosen Church of Jesus. Election. April 6, 1871. Published in Under the Surface, 1874, and L. Mosaic, 1879. 39. O what everlasting blessings God outpoureth on His own. Salvation everlasting. Aug. 12, 1871, at Perry Barr. (P. 1871.) Published in Under the Surface, 1874, and L. Mosaic, 1879. 40. Our Father, our Father, Who dwellest in light. The blessing of the Father desired. May 14, 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879. Miss Havergal's tune, Tertius, was composed for this hymn. 41. Our Saviour and our King. Presentation of the Church to the Father. (Heb. ii. 13.) May, 1871, at Perry Barr. (P. 1871.) Published in Under the Surface, 1874, and L. Mosaic, 1879. 42. Precious, precious blood of Jesus. The precious Blood. Sept. 1874, at Ormont Dessons. (C.) Published in Loyal Responses, 1878, and Life Chords, 1880. 43. Sing, O heavens, the Lord hath done it. Redemption. In her Life Mosaic, 1879, and the Universal Hymn Book, 1885. 44. Sit down beneath His shadow. Holy Communion. Nov. 27, 1870, at Leamington. (P. 1870.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 45. Sovereign Lord and gracious Master. Grace consummated in Glory. Oct. 22, 1871. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 46. Standing at the portal of the opening year. New Year. Jan. 4, 1873. Published in Under the Surface, 1874, and Life Chords, 1880. 47. To Thee, 0 Comforter divine. Praise to the Holy Spirit. Aug. 11, 1872, at Perry Barr. Published in Under the Surface 1874, and Life Mosaic, 1879. Miss Havergal's tune, Tryphosa, was written for this hymn. 48. True-hearted, whole-hearted, faithful and loyal. Faithfulness to the Saviour. In her Loyal Responses, 1878, and the Universal Hymn Book, 1885. 49. What know we, Holy God, of Thee? God's Spirituality, 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879. 50. Who is on the Lord's side? Home Missions. Oct. 13, 1877. Published in Loyal Responses, 1878, andLife Chords, 1880. 51. With quivering heart and trembling will. Resignation. July, 10, 1866, at Luccombe Rectory. (P. 1866.) Published in Ministry of Song, 1869, and Life Mosaic, 1879. 52. Will ye not come to Him for life? The Gospel Invitation. 1873. Published in Snepp's Songs of Grace and Glory, 1876. 53. Worthy of all adoration. Praise to Jesus as the Lamb upon the throne. Feb. 26 1867, at Oakhampton. Published in Ministry of Song, 1869, and Life Mosaic, 1874. It is pt. iii. of the "Threefold Praise," and was suggested by the "Worthy is the Lamb," the "Hallelujah" and "Amen" choruses in Handel's Messiah. 54. Ye who hear the blessed call. The Invitation of the Spirit and the Bride. March, 1869, at Leamington. (P. 1869.) Published in Ministry of Song, 1869, and Life Mosaic, 1879. Suggested by, and written for, the Young Men's Christian Association. 55. Yes, He knows the way is dreary. Encouragement. 1867. Published in Ministry of Song, 1869. Most of these hymns are given in Snepp's Songs of Grace and Glory, 1872]and 1876, his Appendix, 1874, and the Musical edition, 1880, and many of them are also in several other hymnbooks, including Hymns Ancient & Modern, Thring, Church Hymns, Hymnal Companion, &c, and some of the leading American collections. --John Julian, Dictionary of Hymnology (1907) ============================== Havergal, Frances Ridley, p. 496, i. Miss Havergal's Poetical Works were published in 2 vols. in 1884 (Lond., J. Nisbet); and the hymns therein are accompanied by notes. From these volumes, and the Havergal manuscript, we gather the following facts concerning additional hymns in common use: 1. In God's great field of labour. Work for Christ. Written Feb. 27, 1867, and published in her Ministry of Song, I860, and later works. In Snepp's Songs of Grace and Glory, 1872, it begins with stanza ii., "Sing to the little children." “The poem expresses her own life-ministry of song, and relates true incidents" in that life. [Hav. mss.] 2. Only a mortal's power. Consecration of Self to Christ. Published in her Loyal Responses, 1878, in 7 stanzas of 4 lines, and headed "Only.” In Common Praise, 1879, stanzas ii.-vi., are given for Confirmation as, "Only one heart to give." 3. Through the yesterday of ages. Jesus always the same. Written at Leamington, Nov. 1876, and published in her Loyal Responses, 1878. 4. What hast Thou done for me, 0 Thou my mighty Friend. Good Friday. Written at Leamington, Jan. 1877, and pub. in Loyal Responses, 1878. 5. Yes, He knows the way is dreary, p. 498, i. 55. This hymn was written at Shareshill Parsonage, Nov. 17, 1865, and first printed as one of Parlane's leaflets; then in Lyra Britannica, 1867; and later, in several of her books. It was "suggested by a letter from her niece, A. M. S., at school, and written to console her when weary, lonely, and the only absentee at the rejoicings for her brother J. H. S.'s coming of age." [Hav. mss.] --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) =================== Havergal, Frances R., pp. 426, ii., 1569, ii. During the past fifteen years Miss Havergal's hymns have been in great request by compilers of hymnals for Missions and Conventions. In addition to the large number already annotated in this Dictionary, the following are also in common use:— 1. Begin at once! in the pleasant days. [Temperance.] From her Poetical Works, vol. i., p. 303, into The Sunday School Hymnary, 1905. In her Poetical Works. It is given as a "Band of Hope Song," and dated "May, 1876." 2. God in heaven, hear our singing. An altered form of her "God of heaven, hear our singing," p. 497, i. 6. 3. Holy Father, Thou hast spoken. [Holy Spirit desired.] Written May 5, 1876. P. Works, 1874, ii., p. 261. 4. I love. I love my Master. [Jesus the object of love.] Written at Fins, Hants., July 16, 1876. In her Loyal Responses, 1878, and her Poetical Works, 18S4, ii., p. 274. 5. I love to feel that I am taught. [Love of Divine Teaching.] Written at Morecambe Bay, Aug., 1867, for her Ministry of Song, 1869. Included in her Poetical Works, 1884, i., p. 36. 6. Jesus, Thy life is mine. [Union with Christ.] Written June 2, 1876. Poetical Works, 1884, ii., p. 268. 7. Looking unto Jesus, Never need we yield. [Jesus, All in All.] Dated 1876. P. Works, 1884, ii., p. 253. 8. Master, how shall I bless Thy Name! [Holy Service.] Written at Whitby, Sept. 27, 1875. A long hymn of 17 stanzas of 6 lines. P. Works, 1884, ii., p. 280. 9. Resting on the faithfulness. [Union with Christ.] A metrical epitome of a dozen or more of the attributes of Our Lord and His manifestation of loving kindness towards men, in which the word "Resting" is used eighteen times. Written June 11, 1876. Poetical Works, 1884, ii., p. 260. 10. Singing for Jesus, our Saviour and King. [Praise of Jesus.] Written at Winterdyne, June 12. 1872; published in her Under the Surface, 1874, p. 94, and her P. Works, 1884, ii., p. 70. 11. Unfurl the Christian Standard with firm and fearless hand. [Courage for the Christian Warfare. This begins with st. iv. of her hymn, "Unfurl the Christian Standard, lift it manfully on high," written at Perry Barr, Sep. 23, 1872 ; published in her Under the Surface, 1874; and her Poetical Works, 1884, ii. 12. Unto him that hath Thou givest. [Growth in Grace.] Written at Leasowes, April 12, 1876. P. Works, 1884, ii. 259. Of these hymns Nos. 3, 4, 6, 7, 8, 9, and 12 were published in the first instance in J. Mountain's Hymns of Consecration and Faith, 1876. At the present time (1907) the number of Miss Havergal's hymns in common use reaches nearly one hundred. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Catherine Winkworth

1827 - 1878 Scripture: Isaiah 52:1-12 Translator of "Wake, awake, for night is flying" in The Presbyterian Book of Praise Catherine Winkworth (b. Holborn, London, England, 1827; d. Monnetier, Savoy, France, 1878) is well known for her English translations of German hymns; her translations were polished and yet remained close to the original. Educated initially by her mother, she lived with relatives in Dresden, Germany, in 1845, where she acquired her knowledge of German and interest in German hymnody. After residing near Manchester until 1862, she moved to Clifton, near Bristol. A pioneer in promoting women's rights, Winkworth put much of her energy into the encouragement of higher education for women. She translated a large number of German hymn texts from hymnals owned by a friend, Baron Bunsen. Though often altered, these translations continue to be used in many modern hymnals. Her work was published in two series of Lyra Germanica (1855, 1858) and in The Chorale Book for England (1863), which included the appropriate German tune with each text as provided by Sterndale Bennett and Otto Goldschmidt. Winkworth also translated biographies of German Christians who promoted ministries to the poor and sick and compiled a handbook of biographies of German hymn authors, Christian Singers of Germany (1869). Bert Polman ======================== Winkworth, Catherine, daughter of Henry Winkworth, of Alderley Edge, Cheshire, was born in London, Sep. 13, 1829. Most of her early life was spent in the neighbourhood of Manchester. Subsequently she removed with the family to Clifton, near Bristol. She died suddenly of heart disease, at Monnetier, in Savoy, in July, 1878. Miss Winkworth published:— Translations from the German of the Life of Pastor Fliedner, the Founder of the Sisterhood of Protestant Deaconesses at Kaiserworth, 1861; and of the Life of Amelia Sieveking, 1863. Her sympathy with practical efforts for the benefit of women, and with a pure devotional life, as seen in these translations, received from her the most practical illustration possible in the deep and active interest which she took in educational work in connection with the Clifton Association for the Higher Education of Women, and kindred societies there and elsewhere. Our interest, however, is mainly centred in her hymnological work as embodied in her:— (1) Lyra Germanica, 1st Ser., 1855. (2) Lyra Germanica, 2nd Ser., 1858. (3) The Chorale Book for England (containing translations from the German, together with music), 1863; and (4) her charming biographical work, the Christian Singers of Germany, 1869. In a sympathetic article on Miss Winkworth in the Inquirer of July 20, 1878, Dr. Martineau says:— "The translations contained in these volumes are invariably faithful, and for the most part both terse and delicate; and an admirable art is applied to the management of complex and difficult versification. They have not quite the fire of John Wesley's versions of Moravian hymns, or the wonderful fusion and reproduction of thought which may be found in Coleridge. But if less flowing they are more conscientious than either, and attain a result as poetical as severe exactitude admits, being only a little short of ‘native music'" Dr. Percival, then Principal of Clifton College, also wrote concerning her (in the Bristol Times and Mirror), in July, 1878:— "She was a person of remarkable intellectual and social gifts, and very unusual attainments; but what specially distinguished her was her combination of rare ability and great knowledge with a certain tender and sympathetic refinement which constitutes the special charm of the true womanly character." Dr. Martineau (as above) says her religious life afforded "a happy example of the piety which the Church of England discipline may implant.....The fast hold she retained of her discipleship of Christ was no example of ‘feminine simplicity,' carrying on the childish mind into maturer years, but the clear allegiance of a firm mind, familiar with the pretensions of non-Christian schools, well able to test them, and undiverted by them from her first love." Miss Winkworth, although not the earliest of modern translators from the German into English, is certainly the foremost in rank and popularity. Her translations are the most widely used of any from that language, and have had more to do with the modern revival of the English use of German hymns than the versions of any other writer. -- John Julian, Dictionary of Hymnology (1907) ============================ See also in: Hymn Writers of the Church

John Wesley Work

1873 - 1925 Person Name: John W. Work Scripture: Isaiah 52:7 Author of "Go, Tell It on the Mountain" in The Worshiping Church John W. Work, Jr. (b. Nashville, TN, 1872; d. Nashville, 1925), is well known for his pioneering studies of African American folk music and for his leadership in the performance of spirituals. He studied music at Fisk University in Nashville and classics at Harvard and then taught Latin, Greek, and history at Fisk from 1898 to 1923. Director of the Jubilee Singers at Fisk, Work also sang tenor in the Fisk Jubilee Quartet, which toured the country after 1909 and made commercial recordings. He was president of Roger Williams University in Nashville during the last two years of his life. Work and his brother Frederick Jerome Work (1879-1942) were devoted to collecting, arranging, and publishing African American slave songs and spirituals. They published two collections: New Jubilee Songs as Sung by the Fisk Jubilee Singers (1901) and Folk Songs of the American Negro (1907). Bert Polman

Communauté de Taizé

Person Name: Taizé Community Scripture: Isaiah 52:10 Author of "Prepare the Way of the Lord" in Glory to God

Johann Sebastian Bach

1685 - 1750 Person Name: Johann Sebastian Bach (1685-1750) Scripture: Isaiah 52:1-10 Harmonizer of "WACHET AUF, RUFT UNS DIE STIMME" in Moravian Book of Worship Johann Sebastian Bach was born at Eisenach into a musical family and in a town steeped in Reformation history, he received early musical training from his father and older brother, and elementary education in the classical school Luther had earlier attended. Throughout his life he made extraordinary efforts to learn from other musicians. At 15 he walked to Lüneburg to work as a chorister and study at the convent school of St. Michael. From there he walked 30 miles to Hamburg to hear Johann Reinken, and 60 miles to Celle to become familiar with French composition and performance traditions. Once he obtained a month's leave from his job to hear Buxtehude, but stayed nearly four months. He arranged compositions from Vivaldi and other Italian masters. His own compositions spanned almost every musical form then known (Opera was the notable exception). In his own time, Bach was highly regarded as organist and teacher, his compositions being circulated as models of contrapuntal technique. Four of his children achieved careers as composers; Haydn, Mozart, Beethoven, Mendelssohn, Schumann, Brahms, and Chopin are only a few of the best known of the musicians that confessed a major debt to Bach's work in their own musical development. Mendelssohn began re-introducing Bach's music into the concert repertoire, where it has come to attract admiration and even veneration for its own sake. After 20 years of successful work in several posts, Bach became cantor of the Thomas-schule in Leipzig, and remained there for the remaining 27 years of his life, concentrating on church music for the Lutheran service: over 200 cantatas, four passion settings, a Mass, and hundreds of chorale settings, harmonizations, preludes, and arrangements. He edited the tunes for Schemelli's Musicalisches Gesangbuch, contributing 16 original tunes. His choral harmonizations remain a staple for studies of composition and harmony. Additional melodies from his works have been adapted as hymn tunes. --John Julian, Dictionary of Hymnology (1907)