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Be Still and Know
Author: Anonymous Meter: 8.8.8 Appears in 44 hymnals First Line: Be still and know that I am God, Be still and know that I am God Topics: liturgical Opening Hymns
Be Still and Know
Why should I fear the darkest hour
Author: John Newton Meter: 8.8.8 Appears in 44 hymnals Topics: The Christian Life Courage and Cheer Scripture: Psalm 18:2 Used With Tune: ST. AIDAN
Why should I fear the darkest hour
Forgive, O Lord, Our Severing Ways
Author: John Greenleaf Whittier Meter: 8.8.8 Appears in 10 hymnals Lyrics: 1 Forgive, O Lord, our severing ways,
The rival altars that we raise,
The wrangling tongues that mar Thy praise.
2 Thy grace impart; in time to be
Shall one great temple rise to Thee—
One Church for all humanity.
3 White flowers of love its walls shall climb,
Soft bells of peace shall ring its chime,
Its days shall all be holy time.
4 A sweeter song shall then be heard,
Confessing, in a world's accord,
The inward Christ, the living Word.
5 That song shall swell from shore to shore,
One hope, one faith, one love restore
The seamless robe that Jesus wore.
Amen. Topics: Church, The Church Triumphant; Fellowship; Penitence; Unity; Church, The Christian Fellowship Scripture: Ephesians 4:4-6 Used With Tune: O MENSCH SIEH
Forgive, O Lord, Our Severing Ways
BE STILL AND KNOW
Meter: 8.8.8 Appears in 35 hymnals Composer and/or Arranger: Anonymous; Jack Schrader Tune Key: C Major Incipit: 55365 55243 33456 Used With Text: Be Still and Know
BE STILL AND KNOW
DIES IRAE (Dykes)
Meter: 8.8.8 Appears in 17 hymnals Composer and/or Arranger: John Bacchus Dykes Tune Sources: Hymns Ancient and Modern, 1861 Tune Key: d minor Incipit: 32124 51665 14323 Used With Text: Day of Wrath, O Day of Mourning
DIES IRAE (Dykes)
Day of wrath! O day of mourning!
Author: Wm. J. Irons Hymnal: The Church Hymnal #36 (1898) Meter: 8.8.8 Lyrics: 1 Day of wrath! O day of mourning!
See fulfilled the prophet's warning,
Heaven and earth in ashes burning!
2 Oh, what fear man's bosom rendeth,
When from heaven the Judge descendeth,
On Whose sentence all dependeth.
3 Wondrous sound the trumpet flingeth;
Through earth's sepulchres it ringeth;
All before the throne it bringeth.
4 Death is struck, and nature quaking,
All creation is awaking,
To its Judge an answer making.
5 Lo! the Book exactly worded,
Wherein all hath been recorded:
Thence shall judgment be awarded.
6 Whence the Judge His seat attaineth,
And each hidden deed arraigneth,
Nothing unavenged remaineth.
7 What shall I, frail man, be pleading?
Who for me be interceding,
When the just are mercy needing?
8 King of majesty tremendous,
Who dost free salvation send us,
Fount of pity, then befriend us!
9 Think, good Jesu, my salvation,
Cost Thy wondrous Incarnation;
Leave me not to reprobation!
10 Faint and weary Thou hast sought me,
On the cross of suffering bought me.
Shall such grace be vainly brought me?
11 Righteous Judge! for sin's pollution
Grant Thy gift of absolution,
Ere that day of retribution.
12 Guilty, now I pour my moaning,
All my shame with anguish owning;
Spare, O God, Thy suppliant groaning!
13 Thou the sinful woman saved'st;
Thou the dying thief forgavest,
And to me a hope vouchsafest.
14 Worthless are my prayers and sighing,
Yet, good Lord, in grace complying,
Rescue me from fires undying!
15 With Thy favored sheep oh, place me!
Nor among the goats abase me;
But to Thy right hand upraise me.
16 While the wicked are confounded,
Doom'd to flames of woe unbounded,
Call me with Thy saints surrounded.
17 Low I kneel with heart-submission,
See, like ashes, my contrition;
Help me in my last condition.
18 Ah! that day of tears and mourning!
From the dust of earth returning
Man for judgment must prepare him;
Spare, O God, in mercy, spare him.
19 Lord, all pitying, Jesus blest,
Grant us Thine eternal rest.
Amen.
Topics: Advent; Day of Judgment Languages: English Tune Title: DIES IRAE
Day of wrath! O day of mourning!
O LORD, I Call for Help by Day
Author: Stanley Wiersma Hymnal: Psalter Hymnal (Gray) #88 (1987) Meter: 8.8.8 Topics: Deliverance; Doubt; Laments; Sickness & Health; Suffering of Christ; Temptation & Trial; Afflictions; Deliverance; Doubt; Laments; Sickness & Health; Suffering of Christ; Temptation & Trial Scripture: Psalm 88 Languages: English Tune Title: VERGEEF, O HEER
O LORD, I Call for Help by Day
To thee, O Comforter Divine
Author: Frances R. Havergal Hymnal: Trinity Hymnal #252 (1961) Meter: 8.8.8 Lyrics: 1 To thee, O Comforter Divine
For all thy grace and pow'r benign,
Sing we Alleluia!
2 To thee, whose faithful love had place
In God's great covenant of grace,
Sing we Alleluia!
3 To thee, whose faithful voice doth win
The wand'ring from the ways of sin,
Sing we Alleluia!
4 To thee, whose faithful pow'r doth heal,
Enlighten, sanctify, and seal,
Sing we Alleluia!
5 To thee, whose faithful truth is shown
By ev'ry promise made our own,
Sing we Alleluia!
6 To thee, our Teacher and our Friend,
Our faithful Leader to the end,
Sing we Alleluia!
7 To thee, by Jesus Christ sent down,
Of all his gifts the sum and crown,
Sing we Alleluia!
8 To thee, who art with God the Son
And God the Father ever One
Sing we Alleluia! Topics: Covenant of Grace; Holy Spirit; Holy Spirit Comforter; Holy Spirit Efficacious Grace of; Holy Spirit Invocation of; Holy Spirit Praise of; Holy Spirit Regenerator; Holy Spirit Teacher; Holy Trinity; Supplication For Triumph of the Gospel Scripture: John 14:26 Languages: English Tune Title: ST. BOTOLF
To thee, O Comforter Divine
Giovanni Pierluigi da Palestrina
1525 - 1594 Person Name: Palestrina Meter: 8.8.8 Composer of "VICTORY" in The Presbyterian Book of Praise Giovanni Pierluigi (da Palestrina) Italy 1525-1594. Born at Palestrina, Italy, near Rome, then part of the Papal States to Neopolitan parents. As a youth he became a chorister at the Santa Maria Maggiore basilica in the Rome Diocese. This allowed him to learn literature and music. In 1540 he moved to Rome, where he studied in the school ofr the Hugenot, Claude Goudimel. He also studied with Robin Mallapert and Firmin Lebel. Orlando Di Lasso was also a musical advisor to him. From 1544-1551 he was organist at the Cathedral of St Agapito, the principle church of his native city. In 1547 he married Lucrezia Gori, and they had four children: Rodolfo, Angelo, Iginio, and a daughter. In 1551 Pope Julius III (previously Bishop of Palestrina) appointed him ‘maestro di cappella’, or musical director of the Cappella Giulia (choir). Pierluigi dedicated his first published compositions to Pope Julius III (1554), known as ‘the book of Masses’. It was the first book of masses by a native composer, since most sacred works in those days were from low countries (France or Spain). In 1555 Pope Paul IV ordered that all papal choristers should be clerical. As Pierluigi married early in life and had four children, he was unable to continue in the chapel as a layman. During the next decade he held positions similar to his Julian Chapel appointment at other chapels and churches in Rome, including St John Lateran (1555-1560), and Santa Maria Maggiore (1561-1566). In 1571 he returned to the Julian Chapel and remained at St Peter’s for the rest of his life. The 1570s was a decade of difficulty for him, as he lost his brother, two sons, and his wife in three separate outbreaks of plague (1572-1575-1580). In 1578 he was given the title of ‘Master of Music’ at the Vatican Basilica. He thought of becoming a priest at this time, but instead married a wealthy widow, Virginia Formoli, in 1581, widow of a wealthy merchant, which gave him financial independence (he was not well-paid as choirmaster). He spent considerable time administering to her fortune, but also was able to compose prolifically until his death. He also helped to found an association of professional musicians called the Vertuosa Compagnia dei Musici. He died in Rome of pleurisy. He left hundreds of compositions, including 1045 masses, 68 offertories, 140 madrigals, 300+ motets, 72 hymns, 35 magnificats, 11 litanies and several sets of lamentations. There are two comprehensive editions of his works: a 33-volume edition published by Breitkopf and Hartel, in Leigzig, Germany, between 1862-1894, edited by Franz Xaver Habert, and a 34-volume edition published in the mid 20th century by Fratelli Scalera, in Rome, Italy, edited by R Casimiri and others. As a Renaissance musician and composer of sacred music he was the best known 16th century representative of the Roman School of musical composition. He had a long-lasting influence on the development of church and secular music in Europe, especially on the development of counterpoint, his work considered the culmination of Renaissance polyphony. Very famous in his day, he was considered by some the legendary ‘savior of church music’. A 2009 film was produced by German television about him, titled: ‘Palestrina – Prince of Music’.
John Perry
Giovanni Pierluigi da Palestrina
Melchior Vulpius
1570 - 1615 Person Name: Melchior Vulpius, c1560-1616 Meter: 8.8.8 Composer of "GELOBT SIE GOTT (VULPIUS)" in CPWI Hymnal Born into a poor family named Fuchs, Melchior Vulpius (b. Wasungen, Henneberg, Germany, c. 1570; d. Weimar, Germany, 1615) had only limited educational opportunities and did not attend the university. He taught Latin in the school in Schleusingen, where he Latinized his surname, and from 1596 until his death served as a Lutheran cantor and teacher in Weimar. A distinguished composer, Vulpius wrote a St. Matthew Passion (1613), nearly two hundred motets in German and Latin, and over four hundred hymn tunes, many of which became popular in Lutheran churches, and some of which introduced the lively Italian balletto rhythms into the German hymn tunes. His music was published in Cantiones Sacrae (1602, 1604), Kirchengesangund Geistliche Lieder (1604, enlarged as Ein schon geistlich Gesanglmch, 1609), and posthumously in Cantionale Sacrum (1646).
Bert Polman
Melchior Vulpius
William Walsham How
1823 - 1897 Person Name: William W. How Meter: 8.8.8 Author of "O Daughters Blest of Galilee" in The Cyber Hymnal William W. How (b. Shrewsbury, Shropshire, England, 1823; d. Leenane, County Mayo, Ireland, 1897) studied at Wadham College, Oxford, and Durham University and was ordained in the Church of England in 1847. He served various congregations and became Suffragan Bishop in east London in 1879 and Bishop of Wakefield in 1888. Called both the "poor man's bishop" and "the children's bishop," How was known for his work among the destitute in the London slums and among the factory workers in west Yorkshire. He wrote a number of theological works about controversies surrounding the Oxford Movement and attempted to reconcile biblical creation with the theory of evolution. He was joint editor of Psalms and Hymns (1854) and Church Hymns (1871). While rector in Whittington, How wrote some sixty hymns, including many for children. His collected Poems and Hymns were published in 1886.
Bert Polman
===============
How, William Walsham, D.D., son of William Wybergh How, Solicitor, Shrewsbury, was born Dec. 13, 1823, at Shrewsbury, and educated at Shrewsbury School and Wadham College, Oxford (B.A. 1845). Taking Holy Orders in 1846, he became successively Curate of St. George's, Kidderminster, 1846; and of Holy Cross, Shrewsbury, 1848. In 1851 he was preferred to the Rectory of Whittington, Diocese of St. Asaph, becoming Rural Dean in 1853, and Hon. Canon of the Cathedral in 1860. In 1879 he was appointed Rector of St. Andrew's Undershaft, London, and was consecrated Suffragan Bishop for East London, under the title of the Bishop of Bedford, and in 1888 Bishop of Wakefield. Bishop How is the author of the Society for Promoting Christian Knowledge Commentary on the Four Gospels; Plain Words , Four Series; Plain Words for Children; Pastor in Parochia; Lectures on Pastoral Work; Three All Saints Summers, and Other Poems , and numerous Sermons , &c. In 1854 was published Psalms and Hymns, Compiled by the Rev. Thomas Baker Morrell, M.A., . . . and the Rev. William Walsham How, M.A. This was republished in an enlarged form in 1864, and to it was added a Supplement in 1867. To this collection Bishop How contributed several hymns, and also to the S. P. C. K. Church Hymns , of which he was joint editor, in 1871. The Bishop's hymns in common use amount in all to nearly sixty.
Combining pure rhythm with great directness and simplicity, Bishop How's compositions arrest attention more through a comprehensive grasp of the subject and the unexpected light thrown upon and warmth infused into facia and details usually shunned by the poet, than through glowing imagery and impassioned rhetoric. He has painted lovely images woven with tender thoughts, but these are few, and found in his least appreciated work. Those compositions which have laid the firmest hold upon the Church, are simple, unadorned, but enthusiastically practical hymns, the most popular of which, "O Jesu, Thou art standing"; "For all the Saints who from their labours rest," and "We give Thee but Thine own," have attained to a foremost rank. His adaptations from other writers as in the case from Bishop Ken, "Behold, the Master passeth by," are good, and his Children's hymns are useful and popular. Without any claims to rank as a poet, in the sense in which Cowper and Montgomery were poets, he has sung us songs which will probably outlive all his other literary works.
The more important of Bishop How's hymns, including those already named, and "Lord, Thy children guide and keep"; "O Word of God Incarnate"; "This day at Thy creating word"; "Who is this so weak and helpless"; and others which have some special history or feature of interest, are annotated under their respective first lines. The following are also in common use:—
i. From Psalms & Hymns, 1854.
1. Before Thine awful presence, Lord. Confirmation.
2. Jesus, Name of wondrous love [priceless worth]. Circumcision. The Name Jesus .
3. Lord Jesus, when we stand afar. Passiontide.
4. O blessing rich, for sons of men. Members of Christ.
5. 0 Lord of Hosts, the earth is Thine. In time of War.
6. O Lord, Who in Thy wondrous love. Advent.
ii. From Psalms & Hymns, enlarged, 1864.
7. Lord, this day Thy children meet. Sunday School Anniversary.
iii. From Supplement to the Psalms & Hymns, 1867.
8. Hope of hopes and joy of joys. Resurrection.
9. 0 daughters blest of Galilee. For Associations of Women.
10. O happy feet that tread. Public Worship.
11. With trembling awe the chosen three. Transfiguration.
iv. From Parish Magazine, 1871, and Church Hymns, 1871.
12. O Jesu, crucified for man. Friday.
13. Yesterday, with worship blest. Monday.
v. From the S. P. C. K. Church Hymns. 1871.
14. Bowed low in supplication. For the Parish.
15. Great Gabriel sped on wings of light. Annunciation, of the Blessed Virgin Mary.
16. O blest was he, whose earlier skill. St. Luke.
17. O God, enshrined in dazzling light. Omnipresence. Divine Worship .
18. O heavenly Fount of Light and Love. Witsuntide.
19. O Lord, it is a blessed thing. Weekdays.
20. 0 One with God the Father. Epiphany.
21. O Thou through suffering perfect made. Hospitals.
22. Rejoice, ye sons of men. Purification of the B. V. M.
23. Summer suns are glowing. Summer.
24. The year is swiftly waning. Autumn.
25. Thou art the Christ, O Lord. St. Peter.
26. To Thee our God we fly. National Hymn.
27. Upon the holy Mount they stood. Transfiguration and Church Guilds.
28. We praise Thy grace, 0 Saviour. St. Mark.
vi. From the S. P. C. K. Children's Hymns, 1872.
29. Behold a little child. Jesus the Child's Example.
30. Come, praise your Lord and Saviour. Children's Praises.
31. It is a thing most wonderful. Sunday School Anniversary.
32. On wings of living light. Easter.
Bishop How's hymns and sacred and secular pieces were collected and published as Poems and Hymns, 1886. The Hymns, 54 in all, are also published separately. He d. Aug. 10, 1897.
--John Julian, Dictionary of Hymnology (1907)
===================
How, W. W., p. 540, i. He died Aug. 10, 1897. His Memoir, by F. D. How, was published in 1898.
--John Julian, Dictionary of Hymnology, New Supplement (1907)
William Walsham How
Small Church Music
Meter: 8.8.8 Editors: Arthur T. Russell 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.
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Christian Classics Ethereal Hymnary
Publication Date: 2007 Publisher: Grand Rapids, MI: Christian Classics Ethereal Library Meter: 8.8.8
Christian Classics Ethereal Hymnary
