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The United Methodist Hymnal
Publication Date: 1989 Publisher: The United Methodist Publishing House
The United Methodist Hymnal
Lift High the Cross
Author: George William Kitchin; Michael Robert Newbolt Meter: 10.10 with refrain Appears in 95 hymnals First Line: Come, Christians follow this triumphant sign Refrain First Line: Lift high the cross, the love of Christ proclaim Lyrics: Refrain:
Lift high the cross, the love of Christ proclaim
till all the world adore his sacred name.
1 Come, Christians, follow this triumphant sign.
The hosts of God in unity combine. [Refrain]
2 Each newborn servant of the Crucified
bears on the brow the seal of him who died. [Refrain]
3 O Lord, once lifted on the glorious tree,
as thou hast promised, draw the world to thee. [Refrain]
4 So shall our song of triumph ever be:
Praise to the Crucified for victory! [Refrain] Topics: The Grace of Jesus Christ In Praise of Christ; Christian Year Easter; Christian Year Christ the King; Jesus Christ; Jesus Christ Cross; Jesus Christ Name of; Music and Singing; Opening Hymns; Peace, World; Processionals; Testimony and Witness; Triumph; Zeal Used With Tune: CRUCIFER
Lift High the Cross
He Lives
Author: Alfred H. Ackley Meter: 7.6.7.6.7.6.7.4 with refrain Appears in 157 hymnals First Line: I serve a risen Savior Refrain First Line: He lives, he lives Topics: The Grace of Jesus Christ In Praise of Christ; Christ's Gracious Life Resurrection and Exaltation; Christian Year Easter; Christian Year Ascension; Christian Year Christ the King; Jesus Christ; Salvation Used With Tune: ACKLEY
He Lives
Praise, My Soul, the King of Heaven
Author: Henry F. Lyte Meter: 8.7.8.7.8.7 Appears in 539 hymnals Lyrics: 1. Praise, my soul, the King of heaven,
to the throne thy tribute bring;
ransomed, healed, restored, forgiven,
evermore God's praises sing.
Alleluia! Alleluia!
Praise the everlasting King.
2. Praise the Lord for grace and favor
to all people in distress;
praise God, still the same as ever,
slow to chide, and swift to bless.
Alleluia! Alleluia!
Glorious now God's faithfulness.
3. Father-like, God tends and spares us;
well our feeble frame God knows;
mother-like, God gently bears us,
rescues us from all our foes.
Alleluia! Alleluia!
Widely yet God's mercy flows.
4. Angels in the heights, adoring,
you behold God face to face;
saints triumphant, now adoring,
gathered in from every race.
Alleluia! Alleluia!
Praise with us the God of grace.
Topics: New Heaven and a New Earth Communion of the Saints; The Glory of the Triune God Praise and Thanksgiving; New Heaven and a New Earth Communion of the Saints; Adoration and Praise; Christian Year All Saints Day; Christian Year Thanksgiving Day; Funerals and Memorial Services; Grace; Gratitude; Opening Hymns; Processionals Scripture: Psalm 103 Used With Tune: LAUDA ANIMA
Praise, My Soul, the King of Heaven
GOD BE WITH YOU
Meter: 9.8.8.9 with refrain Appears in 699 hymnals Composer and/or Arranger: William G. Tomer Tune Key: C Major Incipit: 33333 35236 66666 Used With Text: God Be with You till We Meet Again
GOD BE WITH YOU
The Great Thanksgiving : Musical Setting A
Hymnal: UMH #17 (1989) First Line: Holy, holy, holy, Lord, God of power and might Lyrics: Holy, holy, holy Lord, God of power and might.
Heaven and earth are full of your glory.
Hosanna in the highest.
Blessed is he who comes in the name of the Lord.
Hosanna in the highest. Scripture: Isaiah 6:3 Languages: English Tune Title: [Holy, holy, holy Lord, God of power and might]
The Great Thanksgiving : Musical Setting A
The Great Thanksgiving : Musical Setting A
Hymnal: UMH #18 (1989) First Line: Christ has died, Christ is risen, Christ will come again Lyrics: Christ has died, Christ is risen,
Christ will come again! Languages: English Tune Title: [Christ has died, Christ is risen, Christ will come again]
The Great Thanksgiving : Musical Setting A
Martin Shaw
1875 - 1958 Hymnal Number: 147 Arranger of "ROYAL OAK" in The United Methodist Hymnal Martin F. Shaw was educated at the Royal College of Music in London and was organist and choirmaster at St. Mary's, Primrose Hill (1908-1920), St. Martin's in the Fields (1920-1924), and the Eccleston Guild House (1924-1935). From 1935 to 1945 he served as music director for the diocese of Chelmsford. He established the Purcell Operatic Society and was a founder of the Plainsong and Medieval Society and what later became the Royal Society of Church Music.
Author of The Principles of English Church Music Composition (1921), Shaw was a notable reformer of English church music. He worked with Percy Dearmer (his rector at St. Mary's in Primrose Hill); Ralph Vaughan Williams, and his brother Geoffrey Shaw in publishing hymnals such as Songs of Praise (1925, 1931) and the Oxford Book of Carols (1928). A leader in the revival of English opera and folk music scholarship, Shaw composed some one hundred songs as well as anthems and service music; some of his best hymn tunes were published in his Additional Tunes in Use at St. Mary's (1915).
Bert Polman
Martin Shaw
Thomas Moore
1779 - 1852 Hymnal Number: 510 Author of "Come, Ye Disconsolate" in The United Methodist Hymnal Thomas Moore United Kingdom 1779-1852. Born at Dublin, Ireland, the son of a grocer, he showed an early interest in music and acting. He was educated at a private school and Trinity College, Dublin. He read at the Middle Temple for the Bar. Moore did not profess religious piety. His translations of ‘Anacreon’ (celebrating wine, women, and song) were published in 1800, with a dedication to the Prince of Wales. He also wrote a comic opera, “the gypsy prince”, staged that year. In 1801 he published a collection of his own verse, “Poetical works of the late Thomas Little Esq”. A Catholic patriot, he defended the Church of Ireland, especially in later politics. In 1803 he held a post under the Government in Bermuda as registrar of the Admiralty Prize Court. He was bored of it within six months and appointed a deputy to take his place while he left for a tour of North America. He secured high society introductions and even met with President, Thomas Jefferson. Returning to England in 1804, he published “Epistles, Odes, & other poems” in 1806. Moore criticized American slavery and was accused of licentious writings, veiled as refinement. Francis Jeffrey denounced Moore’s writings in the ‘Edinburgh Review’, and Moore challenged him to a duel, but it never happened, and they became friends. Between 1808-1810 he was found acting in various plays, favoring comic roles. He met the sister of one of the actresses and, in 1811, they married. Elizabeth ‘Bessy’ Dyke, was an actress. She had no dowry, and Moore kept their marriage secret from his parents for some time, as his wife was Protestant. Bessie shrank from fashionable society, but those who met her held her in high regard. They had five children, but none survived to adulthood. Three girls died young, and both sons lost their lives as young men. One son, Tom, died in some disgrace in the French Foreign Legion in Algeria. Despite these losses, their marriage was said to be a happy one. He also had political trouble. The man he appointed as his replacement in Bermuda was found to have embezzled 6000 pounds sterling, a large sum, for which Moore was liable. He left for France in 1819 to escape debtor’s prison. He also met Lord Byron in Venice and was entrusted with a manuscript of his memoirs, which he promised to have published after Byron’s death. Moore’s wife and children joined him in Paris, where he learned that some of the debt was repaid with help from Lord Lansdowne, whom Moore had given a draft of money from payment by his publisher. The family returned to England a year later. To support his family Moore entered the field of ‘squib writing’ on behalf of his Whig friends. This resulted in years of political debate about Catholics and Protestants in government. Nearly persuaded to forego his Catholic allegiance in favor of Protestantism, he finally concluded that Protestants did not make a sound case for their faith, as they denounced Catholics so vociferously for erroneous teaching. From 1835 -1846 Moore published a four volume “History of Ireland”, which was basically an indictment of English rule over Ireland. He was primarily a writer, poet, entertainer, and composer, considered politically as a writer for the aristocratic Whigs. His “Sacred songs” (32) were published in 1816, and again, in his “collected works” in 1866. His “Memoirs, Journal, and Correspondence” were published by Lord John Russell in 1855. Moore is essentially remembered for his highly-praised lyrics written for Irish melodies, as requested by his publishers, and his memoirs of Lord Byron, his friend. He died at Bromham, Wilshire, England.
John Perry
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Moore, Thomas, son of John Moore, a small tradesman at Dublin, was born in that city, May 28, 1779, educated at a private school and Trinity College, Dublin; read at the Middle Temple for the Bar; held a post under the Government in Bermuda for a short time, and died Feb. 26, 1852. His Memoirs, Journal, and Correspondence were published by Lord John Russell in 1855. In that work every detail concerning himself and his numerous publications, most of them of high poetical merit, will be found. His connection with hymnody is confined to his Sacred Songs, which were published in 1816, and again in his Collected Works, 1866. These Songs were 32 in all, and were written to popular airs of various nations. Of these Songs the following have passed into a few hymnbooks, mainly in America:—
1. As down in the sunless retreats of the ocean. Private Prayer.
2. But who shall see the glorious day. The Final Bliss of Man.
3. Come, ye disconsolate, where'er you languish. Belief in Prayer. In American hymnbooks the text is sometimes as in T. Hastings and Lowell Mason's Spiritual Songs, 1831. This may be distinguished from the original by the third stanza, which reads, "Here see the Bread of life; see waters flowing," &c.
4. Fallen is thy throne, O Israel. Israel in Exile.
5. Like morning when her early breeze. Power of Divine Grace.
6. O Thou Who driest the mourner's tear. Lent.
7. Since first Thy word [grace] awaked my heart. God All and in All.
8. Sound the loud timbrel o'er Egypt's dark sea. Deliverance of Israel.
9. The bird [dove] let loose in eastern skies. Prayer for Constancy.
10. The turf shall be my fragrant shrine. The Temple of Nature. From this "There's nothing bright above, below" is taken.
11. Thou art, O God, the Life and Light. God, the Light and Life of Men.
12. Were not the sinful Mary's tears? Lent.
Of these hymns No. 11 has attained the greatest popularity.
--John Julian, Dictionary of Hymnology (1907)
Thomas Moore
James R. Murray
1841 - 1905 Hymnal Number: 217 Composer of "AWAY IN A MANGER" in The United Methodist Hymnal L.P.M. (1905, April 12). Obituary. New Church Messenger, p.209.
Murray.--At Cincinnati, March 10, 1905, James Ramsey Murray. Funeral services in the Church of the New Jersualem, March 13th.
James R. Murray was widely known in the musical world as the author of many songs and song books, and in the New Church in Chicago and Cincinnati as an affectionate, intelligent, and loyal New Churchman.
He was born in Andover (Ballard Vale), Mass., March 17, 1841. In early life he developed musical talent, and composed many minor pieces for local and special occasions. Later at North Reading, Mass., he attended Dr. George F. Root's School of Music, and was associated with William Bradbury and Dr. Lowell Mason. He enlisted in the Fourteenth Regiment of infantry, commonly known as the Essex County Regiment, and afterwards was changed to the First Regiment, Massachusetts Heavy Artillery, which was engaged in most of the battles fought by the Second Army Corps up to the surrender of General Lee.
"Daisy Deane," the first and most popular of his early song successes, was composed in 1863 in Virginia while in camp, words by his cousin, Thomas F. Winthrop. This song is known all over the world, and the Salvation Army is using an arrangement of it for one of their war cry songs.
In 1868 Mr. Murray married Isabella Maria Taylor of Andover; and they removed to Chicago. Here three children were born to them, two passing early to their heavenly home, the youngest, Winthrop Root Murray, is still living. It was during these first years in Chicago that Mr. and Mrs. Murray became interested in the New Church, while he was engaged with Root and Cady as editor of the Long Visitor, afterwards merged with the Musical Visitor. After the great fire of 1871 Mr. and Mrs. Murray returned East, where he was engaged in teaching in Lawrence and Andover, and as organist at the Old South Church in Andover. In 1881 they removed to Cincinnati and Mr. Murray became the editor of the Musical Viistor [sic] and head of the publication department of the John Church Company. Among the most popular of his books are "Pure Diamonds," "Royal Gems," "The Prize" and "Murray's Sacred Songs." The following titles will recall some of his best loved sacred songs: "At Last," "Calm on the Listening Ear of Night," "I Shall Be Satisfied," "There Shall No Evil Befall Thee," "Thine, O Lord, Is the Greatness," "The Way Was Mine," "How Beautiful Upon the Mountains," "Angels from the Realms of Glory."
His last great labor in the publishing department of the John Church Company was the seeing through the press five volumes of Wagner's music dramas, with full score and original German text, and an English translation. The immense and careful labor involved in the preparation of these volumes, with a really smooth and excellent English translation, had perhaps, as it was done under pressure, something to do with Mr. Murray's breakdown. Although for some reason Mr. Murray's name does not appear on the title page of these volumes, his friends knew of the place the work held in his affections and ambition.
Mr. Murray was a member of the Church Council of the Cincinnati Society for the last four years and took a deep interest in the building of the New Church, and in the inauguration of services, with all the changes looking to the improvement of the musical part of the service. The vested choir, organized by Mr. and Mrs. Lawson, which Mr. Murray as councilman had urged from the beginning, in their entrance to the church each Sunday singing the processional hymn participated in the funeral service, with a congregation of brethren and friends, all moved by deep love and profound respect for the consistent life and faith of a worthy Churchman and beloved friend.
--DNAH Archives
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For a discussion of Murray and the tune MUELLER, see: Stulken, M.K. (1981). Hymnal companion to the Lutheran Book of Worship. Philadelphia : Fortress Press, p.170.
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Also available in the DNAH Archives:
1. An excerpt from Christie, George A. (1927). New Free Church. In Music in Andover. Papers read at "Fagot Party" of the Andover Natural History Society.
2. Unsourced essay about Murray written soon after his death, likely from Andover, Mass., perhaps authored by Charlotte Helen Abbott.
James R. Murray
