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Hymnals

Published hymn books and other collections

Publication Date: 2012 Publisher: Calvin Institute for Christian Worship/ Faith Alive Christian Resources / Brazos Press, a division of Baker Publishing Group Publication Place: Grand Rapids, MI Editors: Joyce Borger; Martin Tel; John D. Witvliet

Texts

Text authorities

Now with Joyful Exultation

Meter: 8.7.8.7 D Appears in 15 hymnals Lyrics: 1 Now with joyful exultation let us sing to God our praise; to the Rock of our salvation loud hosannas let us raise. Thankful tribute gladly bringing, let us come before him now, and, with psalms his praises singing, joyful in his presence bow. 2 For how great a God, and glorious, is the LORD of whom we sing; over idol gods victorious, great is he, our God and King. In his hand are earth's deep places, also his are all the hills; his the sea whose bounds he traces, his the land his bounty fills. 3 To the LORD, such might revealing, let us come with reverence meet, and, before our Maker kneeling, let us worship at his feet. He is our own God who leads us, we the people of his care; with a shepherd's hand he feeds us as his flock in pastures fair. 4 While he offers peace and pardon let us hear his voice today, lest, if we our hearts should harden, we should perish in the way-- lest to us, so unbelieving, he in judgment should declare: "You, so long my Spirit grieving, never in my rest will share." Topics: Biblical Names and Places Massah; Biblical Names and Places Meribah; Church Year Christ the King; Daily Prayer Morning Prayer; Disciples / Calling; Earth; Elements of Worship Call to Worship; Elements of Worship Gathering; Elements of Worship Praise and Adoration; Elements of Worship Prayer for Illumination; Enthronement Psalms; Faith; God Light from; God Obedience to; God Trust in; God as Refuge; God as Shepherd; God as Creator; God as King; God's Reigning; God's Sovereignty; God's Anger; God's People (flock, sheep); God's Power; God's Presence; God's Promise of Redemption; God's Strength; God's Way; Grace; Hymns of Praise; Idols and Idolatry; Joy; Obedience; Occasional Services Christian Marriage; Peace; Prayer; Processions; Remembering; Rest; Ten Commandments 2nd Commandment (do not make graven emages); The Creation; Unity and Fellowship; Worship; Year A, Lent, 3rd Sunday; Year A, Reign of Christ, November 20-26 Scripture: Psalm 95 Used With Tune: BEECHER Text Sources: Psalter, 1912

LORD, Our Lord, Your Glorious Name

Meter: 7.7.7.6 with refrain Appears in 35 hymnals Refrain First Line: LORD, our Lord, in all the earth Lyrics: 1 LORD, our Lord, your glorious name all your wondrous works proclaim; in the heavens with radiant signs evermore your glory shines. How great your name! Refrain: LORD, our Lord, in all the earth, how great your name! Yours the name of matchless worth, excellent in all the earth. How great your name! 2 Infant voices chant your praise, telling of your glorious ways; weakest means work out your will, mighty enemies to still. How great your name! [Refrain] 3 Moon and stars in shining height nightly tell their Maker's might; when I view the heavens afar, then I know how small we are. How great your name! [Refrain] 4 Who are we that we should share in your love and tender care-- raised to an exalted height, crowned with honor in your sight! How great your name! [Refrain] 5 With dominion crowned, we stand o'er the creatures of your hand; all to us subjection yield, in the sea and air and field. How great your name! [Refrain] Topics: Church Year Ascension of the Lord; Church Year Easter; Church Year Passion/Palm Sunday; Church Year Trinity Sunday; Daily Prayer Evening Prayer; Earth; Elements of Worship Praise and Adoration; Emmaus Road; Enemies; God as Creator; God as Defender; God's Friendship; God's Glory; God's Love; God's Majesty; God's Name; God's Presence; Humanity Created by God; Hymns of Praise; Jesus Christ Friend of Sinners; Jesus Christ Good Shepherd; Jesus Christ Teacher; Jesus Christ Way, Truth, and Life; Life Stages Children; Life Stages Family; Occasional Services Christian Marriage; Ten Commandments 3rd Commandment (do not take the name of the Lord in vain); The Creation; Year A, B, C, Christmas, New Year's Day; Year A, C, Ordinary Time after Pentecost, Trinity Sunday; Year B, Ordinary Time after Pentecost, October, 2-8; Year, A, B. C, Holy name of Jesus, January 1 Scripture: Psalm 8 Used With Tune: EVENING PRAISE Text Sources: Psalter, 1912, alt.

It Is Good to Sing Your Praises

Meter: 8.7.8.7 D Appears in 27 hymnals Lyrics: 1 It is good to sing your praises and to thank you, O Most High, showing forth your loving kindness when the morning lights the sky. It is good when night is falling of your faithfulness to tell, while with sweet, melodious praises songs of adoration swell. 2 You have filled my heart with gladness through the works your hands have wrought; you have made my life victorious; great your works and deep your thought. You, O Lord, on high exalted, reign forevermore in might; all your enemies shall perish, sin be banished from your sight. 3 But the good shall live before you, planted in your dwelling place, fruited trees and ever verdant, nourished by your boundless grace. In his goodness to the righteous God his righteousness displays; God, my rock, my strength and refuge, just and true are all your ways. Topics: Biblical Names and Places Lebanon; Delight; Elements of Worship Call to Worship; Elements of Worship Gathering; Elements of Worship Praise and Adoration; God as Refuge; God as Deliverer; God's Sovereignty; God's Wonders; God's Faithfulness; Gratitude; Joy; Judgment; Life Stages Old Age; Musical Instruments; Ten Commandments 4th Commandment (remember the Sabbath); The Creation; Year B, Ordinary Time after Pentecost, June 12-18 (if after Trinity Sunday); Year C, Ordinary Time after Epiphany, 8th Sunday; Year C, Ordinary Time after Pentecost, May 24-28 (if after Trinity Sunday) Scripture: Psalm 92 Used With Tune: ELLESDIE Text Sources: Psalter, 1912

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Tunes

Tune authorities

RHOSYMEDRE

Meter: 6.6.6.6.8.8 Appears in 88 hymnals Composer and/or Arranger: John D. Edwards Tune Key: F Major Incipit: 51122 31443 21511 Used With Text: I Call to You, My Rock

ALL SAINTS NEW

Meter: 8.6.8.6 D Appears in 537 hymnals Composer and/or Arranger: Henry S. Cutler Tune Key: B Flat Major Incipit: 53451 17712 34322 Used With Text: The LORD unto My Lord Has Said

GENEVAN 68

Meter: 8.8.7.8.8.7 D Appears in 106 hymnals Tune Key: D Major Incipit: 11231 34554 32134 Used With Text: Approach Our God with Songs of Praise

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Instances

Published text-tune combinations (hymns) from specific hymnals

Trees

Author: Michael Morgan Hymnal: PFAS2012 #I (2012) Meter: 7.7.7.7.7.7 First Line: Tree of Wisdom, fruitful green Scripture: Psalm 1 Tune Title: DIX

The One Is Blest

Hymnal: PFAS2012 #1A (2012) Meter: 8.6.8.6 First Line: The one is blest who, fearing God Lyrics: 1 The one is blest who, fearing God, walks not where sinners meet, who does not stand with wicked ones, and shuns the scorners' seat. 2 How blest the one who in God's law finds goodness and delight, and meditates upon that law with gladness day and night. 3 That one is nourished like a tree set by the river's side; its leaf is green, its fruit is sure: the works of such abide. 4 The wicked, like the driven chaff, are swept from off the land; they shall not gather with the just, nor at the judgment stand. 5 The LORD will guard the righteous well, their way to God is known; the way of sinners, far from God, shall surely be o'erthrown. Topics: Atheism; Blessing; Blessing; Church Year All Saints' Day; Commitment; Conflict; Discipleship; Elements of Worship Praise and Adoration; Emmaus Road; Endurance; Evil; God Obedience to; God's Will; God's Will; God's Word; God's law; God's Love; Jesus Christ Good Shepherd; Jesus Christ Mind of; Jesus Christ Teacher; Jesus Christ Way, Truth, and Life; Judgment; Mercy; Obedience; Remnant of Isarel; Servants of God; Truth; Wisdom Psalms; Year A, Ordinary Time after Pentecost, October 23-29; Year B, Easter, 7th Sunday; Year B, Ordinary Time after Pentecost, September 18-24; Year C, Ordinary Time after Epiphany, 6th Sunday; Year C, Ordinary Time after Pentecost; September 4-10 Scripture: Psalm 1 Tune Title: WINCESTER OLD

Psalm 1 (A Responsorial Setting)

Author: Robert J. Thompson Hymnal: PFAS2012 #1B (2012) First Line: Happy are they who trust, who trust in the Lord Topics: Atheism; Blessing; Church Year All Saints' Day; Commitment; Conflict; Discipleship; Elements of Worship Praise and Adoration; Emmaus Road; Endurance; Evil; God Obedience to; God's Seeing; God's Will; God's Word; God's law; God's Love; Jesus Christ Good Shepherd; Jesus Christ Mind of; Jesus Christ Teacher; Jesus Christ Way, Truth, and Life; Judgment; Mercy; Obedience; Remnant of Isarel; Servants of God; Truth; Wisdom Psalms; Year A, Ordinary Time after Pentecost, October 23-29; Year B, Easter, 7th Sunday; Year B, Ordinary Time after Pentecost, September 18-24; Year C, Ordinary Time after Epiphany, 6th Sunday; Year C, Ordinary Time after Pentecost; September 4-10 Scripture: Psalm 1 Tune Title: [Happy are they who trust]

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People

Authors, composers, editors, etc.

Lowell Mason

1792 - 1872 Person Name: Lowell Mason, 1792-1872 Hymnal Number: 98D Composer of "ANTIOCH" in Psalms for All Seasons Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man. Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit. The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank. In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious. Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them." The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging. Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage. Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals. As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 1869. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced. Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College. --Hall, J. H. (c1914). Biography of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.

Richard Redhead

1820 - 1901 Hymnal Number: 51O Composer of "REDHEAD 76" in Psalms for All Seasons Richard Redhead (b. Harrow, Middlesex, England, 1820; d. Hellingley, Sussex, England, 1901) was a chorister at Magdalen College, Oxford. At age nineteen he was invited to become organist at Margaret Chapel (later All Saints Church), London. Greatly influencing the musical tradition of the church, he remained in that position for twenty-five years as organist and an excellent trainer of the boys' choirs. Redhead and the church's rector, Frederick Oakeley, were strongly committed to the Oxford Movement, which favored the introduction of Roman elements into Anglican worship. Together they produced the first Anglican plainsong psalter, Laudes Diurnae (1843). Redhead spent the latter part of his career as organist at St. Mary Magdalene Church in Paddington (1864-1894). Bert Polman

Charles Wesley

1707 - 1788 Person Name: Charles Wesley (1707-1788) Hymnal Number: 109A Author (sts. 1, 3, 4) of "Hymn: Give to the Winds Your Fears" in Psalms for All Seasons 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.

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