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Hail the Resurrection day!
Author: St. John of Damascus; John Brownlie Meter: 7.8.7.8 D Appears in 2 hymnals Lyrics:
Hail the Resurrection day!
Let the people shout for gladness;
’Tis a passover of joy,—
Let us banish every sadness;
For, from death to endless life,
Christ our God His people bringeth;
As from earth to heaven we rise,
Each his song of triumph singeth.
From our eyes the veil remove,
That we may, in light transcending,
See the risen Lord of Life,
Life to all in grace extending.
Let our ears His voice perceive;
To His accents kind attending,
We would hear ‘All hail!’ and sing,
Every voice in triumph blending.
Let the heavens above rejoice,
Let the earth take up the measure;
All the world, and all therein,
Join the festival of pleasure;
All things visible unite
With invisible in singing;
For the Christ is risen indeed,
Everlasting gladness bringing.
Text Sources: Canon for Easter
Hail the Resurrection day!
Sweetly Sleep
Author: Katharyn D. Bacon Meter: 7.8.7.8 D Appears in 3 hymnals First Line: Sweetly sleep, oh! friends so dear Refrain First Line: Sweetly sleep until the dawn Lyrics:
1 Sweetly sleep, oh! friends so dear,
Beneath the flowers, the sun and dew,
As today we gather here
In loving memory of you.
Refrain:
Sweetly sleep until the dawn
Of that eternal, happy day,
When, with every shadow gone,
We shall abide in bliss for aye.
2 Sweetly sleep, and take your rest,
For every burden now is borne,
Safe upon your Savior’s breast,
Dear friends, for you we cannot mourn. [Refrain]
3 Sweetly sleep, so free from care,
You’ll wake, but ah! to sorrow not,
For the joys of Heav’n you’ll share,
O happy, happy is your lot! [Refrain]
4 Sweetly sleep, oh! sweetly sleep,
Your toil is done, your sorrow o’er;
Vigil o’er you angels keep,
And blest are you forevermore! [Refrain]
Used With Tune: TUALATIN Text Sources: Glad News No. 2 by George W. Bacon (Hudson, NC: Teachers' Music Publishing, 1918)
Sweetly Sleep
Sown In Tears
Author: Fanny Downing Meter: 7.8.7.8 D Appears in 2 hymnals First Line: Chill the air and hard the ground Lyrics: 1 Chill the air and hard the ground;
Not one ray of sunshine lieth;
O’er the moor, with hollow sound,
Moaning low, the cold wind sigheth.
Sower, break the stubborn soil,
Lavish in its furrows heaping;
Cease not from thy patient toil,
Sow the seed and wait the reaping.
2 Summer sunshine on the hill;
Birds on every green tree singing;
Shouts of joy the soft air fill,
Home the harvest they are bringing.
And the sower on the plain,
His long buried seed now finding,
Mellow heaps of ripened grain
Into golden sheaves is binding.
3 In the dark and narrow tomb,
Costlier seed we bury weeping,
And enwrapped in quiet gloom,
Leave it to the Master’s keeping.
To the end we cannot see,
Faith her heav’nly vision blending,
We our buried treasure greet,
Sown in tears, but reaped in glory. Used With Tune: ELGOSHAYLE Text Sources: Fount of Blessing
Sown In Tears
[Look at Golgotha]
Meter: 7.8.7.8 D Appears in 2 hymnals Used With Text: Golgota no jereo (Look at Golgotha)
[Look at Golgotha]
How Shall I Meet My Saviour?
Author: Arthur Tozer Russell, 1806-1874; Paul Gerhardt, 1607-1676; Edward T. Mickey, Jr., 1908- Hymnal: Hymnal and Liturgies of the Moravian Church #61 (1969) Meter: 7.8.7.8 D Lyrics: 1 How shall I meet my Savior?
How shall I truly welcome Thee?
What manner of behavior
Is by Thy love required of me?
I wait for Thy salvation;
Grant me, O Lord, Thy Spirit’s light;
And my preparation
Be well accepted in Thy sight.
2 While with her sweetest flowers
Thy waiting Zion strews Thy way,
I’ll raise with all my powers,
Savior, to Thee a grateful lay;
To Thee, the King of glory,
My heart will tune a song divine
And make Thy love’s bright story
Through me in living witness shine. Topics: The Church Year Advent Languages: English Tune Title: LEINBACH
How Shall I Meet My Saviour?
Hail the Resurrection day!
Author: St. John of Damascus; John Brownlie Hymnal: Hymns of the Greek Church #67 (1900) Meter: 7.8.7.8 D Lyrics:
Hail the Resurrection day!
Let the people shout for gladness;
’Tis a passover of joy,—
Let us banish every sadness;
For, from death to endless life,
Christ our God His people bringeth;
As from earth to heaven we rise,
Each his song of triumph singeth.
From our eyes the veil remove,
That we may, in light transcending,
See the risen Lord of Life,
Life to all in grace extending.
Let our ears His voice perceive;
To His accents kind attending,
We would hear ‘All hail!’ and sing,
Every voice in triumph blending.
Let the heavens above rejoice,
Let the earth take up the measure;
All the world, and all therein,
Join the festival of pleasure;
All things visible unite
With invisible in singing;
For the Christ is risen indeed,
Everlasting gladness bringing.
Languages: English
Hail the Resurrection day!
Let Our Hearts New Anthems Raise
Author: Joseph the Hymnographer; John Mason Neale (1818-1866); Compiler Hymnal: The Christian Hymnary. Bks. 1-4 #407 (1972) Meter: 7.8.7.8 D Topics: Book One: Hymns, Songs, Chorales; The Church Heritage Scripture: Hebrews 11:33-34 Languages: English Tune Title: ST. KEVIN
Let Our Hearts New Anthems Raise
Anonymous
Meter: 7.8.7.8 D Author of "There is a land of pleasure" In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.
Anonymous
St. John of Damascus
675 - 787 Meter: 7.8.7.8 D Author of "Hail the Resurrection day!" in Hymns of the Greek Church Eighth-century Greek poet John of Damascus (b. Damascus, c. 675; d. St. Sabas, near Jerusalem, c. 754) is especially known for his writing of six canons for the major festivals of the church year. John's father, a Christian, was an important official at the court of the Muslim caliph in Damascus. After his father's death, John assumed that position and lived in wealth and honor. At about the age of forty, however, he became dissatisfied with his life, gave away his possessions, freed his slaves, and entered the monastery of St. Sabas in the desert near Jerusalem. One of the last of the Greek fathers, John became a great theologian in the Eastern church. He defended the church's use of icons, codified the practices of Byzantine chant, and wrote about science, philosophy, and theology.
Bert Polman
========================
John of Damascus, St. The last but one of the Fathers of the Greek Church, and the greatest of her poets (Neale). He was of a good family in Damascus, and educated by the elder Cosmas in company with his foster-brother Cosmas the Melodist (q. v.). He held some office under the Caliph. He afterwards retired to the laura of St. Sabas, near Jerusalem, along with his foster-brother. There he composed his theological works and his hymns. He was ordained priest of the church of Jerusalem late in life. He lived to extreme old age, dying on the 4th December, the day on which he is commemorated in the Greek calendar, either in his 84th or 100th year (circa 780). He was called, for some unknown reason, Mansur, by his enemies. His fame as a theologian rests on his work, the first part of which consists of philosophical summaries, the second dealing with heresies, and the third giving an account of the orthodox faith. His three orations in favour of the Icons, from which he obtained the name of Chrysorrhous and The Doctor of Christian Art, are very celebrated. The arrangement of the Octoechusin accordance with the Eight Tones was his work, and it originally contained no other Canons than his. His Canons on the great Festivals are his highest achievements. In addition to his influence on the form and music, Cardinal Pitra attributes to him the doctrinal character of the later Greek hymnody. He calls him the Thomas Aquinas of the East. The great subject round which his hymns are grouped is The Incarnation, developed in the whole earthly career of the Saviour. In the legendary life of the saint the Blessed Virgin Mary is introduced as predicting this work: the hymns of John of Damascus should eclipse the Song of Moses, rival the cherubim, and range all the churches, as maidens beating their tambours, round their mother Jerusalem (Pitra, Hymn. Grecque, p. 33). The legend illustrates not only the dogmatic cast of the hymns, but the introduction of the Theotokion and Staurotheotokion, which becomes the prevalent close of the Odes from the days of St. John of Damascus: the Virgin Mother presides over all. The Canons found under the name of John Arklas (one of which is the Iambic Canon at Pentecost) are usually attributed to St. John of Damascus, and also those under the name of John the Monk. Some doubt, however, attaches to the latter, because they are founded on older rhythmical models which is not the case with those bearing the name of the Damascene, and they are not mentioned in the ancient Greek commentaries on his hymns. One of these is the Iambic Canon for Christmas.
His numerous works, both in prose and verse, were published by Le Quien, 1712; and a reprint of the same with additions by Migne, Paris, 1864. Most of his poetical writings are contained in the latter, vol. iii. pp. 817-856, containing those under the title Carmina; and vol. iii. pp. 1364-1408, the Hymni. His Canon of SS. Peter & Paul is in Hymnographie Grecque, by Cardinal Pitra, 1867. They are also found scattered throughout the Service Books of the Greek Church, and include Iambic Canons on the Birth of Christ, the Epiphany, and on Pentecost; Canons on Easter, Ascension, the Transfiguration, the Annunciation, and SS. Peter & Paul: and numerous Idiomela. In addition, Cardinal Mai found a manuscript in the Vatican and published the same in his Spicilegium Romanum, which contained six additional Canons, viz.: In St. Basilium; In St. Chrysostomum; In St. Nicolaum; In St. Petrum; In St. Georgium, and In St. Blasium. But M. Christ has urged grave objections to the ascription of these to St. John of Damascus (Anthologia Graeca Carminum Christorium, p. xlvii.). Daniel's extracts in his Thesaurus Hymnologicus, vol. iii. pp. 80, 97, extend to six pieces. Dr. Neale's translations of portions of these works are well known. [Rev. H. Leigh Bennett, M.A.]
-- John Julian, Dictionary of Hymnology (1907)
St. John of Damascus
Arthur Sullivan
1842 - 1900 Person Name: Arthur Seymour Sullivan, 1842-1900 Meter: 7.8.7.8 D Composer of "ST. KEVIN" in The Christian Hymnary. Bks. 1-4 Arthur Seymour Sullivan (b Lambeth, London. England. 1842; d. Westminster, London, 1900) was born of an Italian mother and an Irish father who was an army bandmaster and a professor of music. Sullivan entered the Chapel Royal as a chorister in 1854. He was elected as the first Mendelssohn scholar in 1856, when he began his studies at the Royal Academy of Music in London. He also studied at the Leipzig Conservatory (1858-1861) and in 1866 was appointed professor of composition at the Royal Academy of Music. Early in his career Sullivan composed oratorios and music for some Shakespeare plays. However, he is best known for writing the music for lyrics by William S. Gilbert, which produced popular operettas such as H.M.S. Pinafore (1878), The Pirates of Penzance (1879), The Mikado (1884), and Yeomen of the Guard (1888). These operettas satirized the court and everyday life in Victorian times. Although he composed some anthems, in the area of church music Sullivan is best remembered for his hymn tunes, written between 1867 and 1874 and published in The Hymnary (1872) and Church Hymns (1874), both of which he edited. He contributed hymns to A Hymnal Chiefly from The Book of Praise (1867) and to the Presbyterian collection Psalms and Hymns for Divine Worship (1867). A complete collection of his hymns and arrangements was published posthumously as Hymn Tunes by Arthur Sullivan (1902). Sullivan steadfastly refused to grant permission to those who wished to make hymn tunes from the popular melodies in his operettas.
Bert Polman
Arthur Sullivan
