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Texts

Text authorities

Christ the Lord is risen again!

Author: Michael Weisse; Catherine Winkworth Meter: 7.7.7.7.4 Appears in 258 hymnals First Line: Christ the Lord is risen again! Christ has broken every chain! Refrain First Line: Alleluia, alleluia Topics: Chorales; Christ Resurrection; Resurrection

At the Lamb's High Feast We Sing

Author: Robert Campbell, 1814-1868 Meter: 7.7.7.7.4 Appears in 186 hymnals Lyrics: 1 At the Lamb's high feast we sing praise to our victorious King, who has washed us in the tide flowing from his pierced side, Alleluia! 2 Praise we him whose love divine gives his sacred blood for wine, gives his body for the feast— Christ the victim, Christ the priest. Alleluia! 3 Where the paschal blood is poured, death's dread angel sheathes the sword; Israel's hosts triumphant go thro' the wave that drowns the foe. Alleluia! 4 Praise we Christ, whose blood was shed, paschal victim, paschal bread; with sincerity and love eat we manna from above. Alleluia! 5 Mighty Victim from the sky, hell's fierce pow'rs beneath you lie. You have conquered in the fight, you have brought us life and light. Alleluia! 6 Now no more can death appall, now no more the grave enthrall; you have opened paradise, and your saints in you shall rise. Alleluia! 7 Easter triumph, Easter joy! This alone can sin destroy; from sin's pow'r, Lord, set us free, newborn souls in you to be. Alleluia! 8 Father, who the crown shall give, Savior, by whose death we live, Spirit, guide through all our days, Three in One, your name we praise. Alleluia! Topics: Holy Communion Scripture: Matthew 26:26-28 Used With Tune: SONNE DER GERECTHTIGKEIT Text Sources: Latin, c. 4th-10th cent., alt. 17th cent.

All creation join to say

Author: C. Wesley (1707-1788) Meter: 7.7.7.7.4 Appears in 1,173 hymnals Topics: Easter The Resurrection of Christ; Easter 3 The Resurrection and the Life; God, Saviour Risen and Victorious Used With Tune: WÜRTTEMBERG

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Tunes

Tune authorities

SONNE DER GERECHTIGKEIT

Meter: 7.7.7.7.4 Appears in 27 hymnals Composer and/or Arranger: Jan O. Bender, 1909-94 Tune Sources: Kirchengeseng, Ivancice, 1566 Tune Key: D Major Incipit: 11517 65665 66765 Used With Text: At the Lamb's High Feast We Sing

CHAUTAUQUA (EVENING PRAISE)

Meter: 7.7.7.7.4 Appears in 370 hymnals Composer and/or Arranger: William F. Sherwin Tune Key: G Major Incipit: 11165 45111 65457 Used With Text: Day is Dying in the West

WÜRTTEMBERG

Meter: 7.7.7.7.4 Appears in 94 hymnals Composer and/or Arranger: Johann Rosenmüller, 1615-1686 Tune Key: E Major Incipit: 33551 23671 32215 Used With Text: Christ the Lord is Risen Again

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Instances

Published text-tune combinations (hymns) from specific hymnals

Come, O come, our voices raise

Hymnal: A New Hymnal for Colleges and Schools #4 (1992) Meter: 7.7.7.7.4 Languages: English Tune Title: Sonne der Gerechtigkeit

Kanzeon, Compassionate One

Author: P. Jiyu-Kennett Hymnal: The Liturgy of the Order of Buddhist Contemplatives #15 (1990) Meter: 7.7.7.7.4 Topics: Festival of Avalokiteshwara Bodhisattva Languages: English Tune Title: ORIENTIS PARTIBUS

Cristo já ressuscitou e seu túmulo deixou (1)

Author: Charles Wesley (1707-1788); Rodolfo Hasse (1890-1968) Hymnal: Mil Vozes para Celebrar #23 (2019) Meter: 7.7.7.7.4 First Line: Cristo já ressuscitou e seu túmulo deixou Languages: Portuguese Tune Title: ORIENTIS PARTIBUS

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People

Authors, composers, editors, etc.

Charles Wesley

1707 - 1788 Person Name: C. Wesley (1707-1788) Meter: 7.7.7.7.4 Author of "All creation join to say" in Hymns for Today's Church (2nd ed.) 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.

William Henry Monk

1823 - 1889 Person Name: W. H. Monk, 1823-89 Meter: 7.7.7.7.4 Composer of "WÜRTEMBURG" in The Book of Common Praise William H. Monk (b. Brompton, London, England, 1823; d. London, 1889) is best known for his music editing of Hymns Ancient and Modern (1861, 1868; 1875, and 1889 editions). He also adapted music from plainsong and added accompaniments for Introits for Use Throughout the Year, a book issued with that famous hymnal. Beginning in his teenage years, Monk held a number of musical positions. He became choirmaster at King's College in London in 1847 and was organist and choirmaster at St. Matthias, Stoke Newington, from 1852 to 1889, where he was influenced by the Oxford Movement. At St. Matthias, Monk also began daily choral services with the choir leading the congregation in music chosen according to the church year, including psalms chanted to plainsong. He composed over fifty hymn tunes and edited The Scottish Hymnal (1872 edition) and Wordsworth's Hymns for the Holy Year (1862) as well as the periodical Parish Choir (1840-1851). Bert Polman

William F. Sherwin

1826 - 1888 Meter: 7.7.7.7.4 Composer of "CHAUTAUQUA (EVENING PRAISE)" in The Hymnbook Sherwin, William Fisk, an American Baptist, was born at Buckland, Massachusetts, March 14,1826. His educational opportunities, so far as schools were concerned, were few, but he made excellent use of his time and surroundings. At fifteen he went to Boston and studied music under Dr. Mason: In due course he became a teacher of vocal music, and held several important appointments in Massachusetts; in Hudson and Albany, New York County, and then in New York City. Taking special interest in Sunday Schools, he composed carols and hymn-tunes largely for their use, and was associated with the Rev. R. Lowry and others in preparing Bright Jewels, and other popular Sunday School hymn and tune books. A few of his melodies are known in Great Britain through I. D. Sankey's Sacred Songs and Solos, where they are given with his signature. His hymnwriting was limited. The following pieces are in common use:— 1. Grander than ocean's story (1871). The Love of God. 2. Hark, bark, the merry Christmas bells. Christmas Carol. 3. Lo, the day of God is breaking. The Spiritual Warfare. 4. Wake the song of joy and gladness. Sunday School or Temperance Anniversary. 5. Why is thy faith, 0 Child of God, so small. Safety in Jesus. Mr. Sherwin died at Boston, Massachusetts, April 14, 1888. -- John Julian, Dictionary of Hymnology (1907) ================== Sherwin, W. F., p. 1055, i. Another hymn from his Bright Jewels, 1869, p. 68, is "Sound the battle cry" (Christian Courage), in the Sunday School Hymnary, 1905, and several other collections. --John Julian, Dictionary of Hymnology, New Supplement (1907)

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Hymnals

Published hymn books and other collections

Small Church Music

Meter: 7.7.7.7.4 Editors: Robert Campbell Description: The SmallChurchMusic site was launched in 2006, growing out of the requests from those struggling to provide suitable music for their services and meetings. Rev. Clyde McLennan was ordained in mid 1960’s and was a pastor in many small Australian country areas, and therefore was acutely aware of this music problem. Having also been trained as a Pipe Organist, recordings on site (which are a subset of the smallchurchmusic.com site) are all actually played by Clyde, and also include piano and piano with organ versions. All recordings are in MP3 format. Churches all around the world use the recordings, with downloads averaging over 60,000 per month. The recordings normally have an introduction, several verses and a slowdown on the last verse. Users are encouraged to use software: Audacity (http://www.audacityteam.org) or Song Surgeon (http://songsurgeon.com) (see http://scm-audacity.weebly.com for more information) to adjust the MP3 number of verses, tempo and pitch to suit their local needs. Copyright notice: Rev. Clyde McLennan, performer in this collection, has assigned his performer rights in this collection to Hymnary.org. Non-commercial use of these recordings is permitted. For permission to use them for any other purposes, please contact manager@hymnary.org. Home/Music(smallchurchmusic.com) List SongsAlphabetically List Songsby Meter List Songs byTune Name About

Christian Classics Ethereal Hymnary

Publication Date: 2007 Publisher: Grand Rapids, MI: Christian Classics Ethereal Library Meter: 7.7.7.7.4

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